Country Named Top Radio Format In Nielsen Study

NielsenIn a new Nielsen report, titled State Of The Media: Audio Today 2014 How America Listens February 2014, the study shows that 242 million people listen to radio each week across the U.S. That is nearly 92 percent of everyone age 12 and older.
The study ranked America’s top formats in 2013 by share of total listening, and Country radio came out on top. 14.8 percent of listeners tune in to Country radio. Country is followed with News/Talk (11.3 percent), Top 40 (8.0 percent), AC (7.3 percent), and Classic Hits (5.5 percent). A full listing of America’s top formats in 2013 is provided below.
Among the findings are generational and racial statistics. The study found that 74 percent of Generation X listeners work full-time. Meanwhile, Boomers (P 50-64) are the most engaged in radio listening; this demographic listens to the radio more than 14 hours per week. The study also found that more than 94 percent of Hispanics use radio each week, while nearly 92 percent of African Americans use radio every week.
America’s Top Formats In 2013 — Ranked By Share Of Total Listening (%)

  1. Country — 14.8
  2. News/Talk — 11.3
  3. Top 40 — 8.0
  4. AC — 7.3
  5. Classic Hits — 5.5
  6. Classic Rock — 5.2
  7. Hot AC — 4.8
  8. Urban AC — 4.0
  9. Top 40/R — 3.3
  10. Sports — 3.1
  11. Urban Contemporary — 3.1
  12. Contemporary Christian — 3.1
  13. Mexican Regional — 2.8
  14. Adults Hits/+80S Hits — 2.1
  15. Active Rock — 1.9
  16. Alternative — 1.9
  17. All News — 1.5
  18. Classical — 1.4
  19. Oldies — 1.4
  20. Spanish Contemporary — 1.4

Susan Wojcicki To Lead YouTube

Susan Wojcicki

Susan Wojcicki

YouTube is getting a new boss. Susan Wojcicki is moving from her role as Google SVP of Advertising to head of the Google video site. The change signals YouTube’s focus on increasing ad revenue. Wojcicki succeeds Salar Kamangar.
YouTube and the music industry are closely intertwined, given the significant number of music videos on the site.
Google Chief Executive Larry Page confirmed the appointment with this statement: “Salar and the whole YouTube team have built something amazing. YouTube is a billion-person global community curating videos for every possibility. Anyone uploading their creative content can reach the whole world and even make money. Like Salar, Susan has a healthy disregard for the impossible and is excited about improving YouTube.”
YouTube has 1 billion monthly visitors. It brought in about $5.6 billion in ad revenue last year, and netted $1.96 billion—an increase of 66 percent over the previous year (eMarketer). Nielsen is now on board measuring online video views.
Wojcicki was a driving force behind Google’s $1.65 billion acquisition of YouTube in 2006.
• • •
In more tech news, Facebook rolled out a new iPhone app, Paper, on Monday (Feb. 3). It offers more news in the news feeds and minimagazines on a variety of topics. Editors curate articles and blog posts for Paper.

Grand Ole Opry To Celebrate 40 Years at Opry House

blake sheltonThe Grand Ole Opry is poised to celebrate 40 years of country music at its permanent home, the Grand Ole Opry House, beginning next month, with special events kicking off the weekend of March 15 and continuing throughout the year. The celebration will lead up to next year’s mark of 90 years since the Opry was founded on Nov. 28, 1925.
Among those scheduled to appear on two Opry House Anniversary performances March 15 are Blake Shelton, Miranda Lambert, Clint Black, Diamond Rio, and Josh Turner.
The Grand Ole Opry House is the Opry’s sixth home. It is also the only home built specifically for the Opry and the residence the Opry has called home the longest. The Opry House opened on March 16, 1974 with a standing room only Opry performance attended by President and Mrs. Richard Nixon, among other VIP guests. The evening marked the first time a U.S. president had ever attended the Opry. Nixon still stands as the only president ever to have performed on the Opry, having played “My Wild Irish Rose” and “God Bless America” on the Opry’s upright piano in addition to “Happy Birthday” in honor of First Lady Pat Nixon, who was celebrating her birthday that night. Even more memorably, President Nixon received an impromptu on-stage yo-yo lesson from Opry stalwart and yo-yo enthusiast Roy Acuff.
Weekend Shows and Events
March 15, 2014
7:30 a.m. – 650 AM WSM 5K Run & Walk
5:30 p.m. – Backstage at the Grand Ole Opry Book Signing
7 p.m. & 9:30 p.m.  – Opry House 40th Anniversary Grand Ole Opry shows featuring Blake Shelton, Miranda Lambert, Clint Black, Diamond Rio, Josh Turner, and more
Throughout the day – Opry House Yo-Yo-A-Thon
March 16, 2014
11 a.m. – 4 p.m.  – Self-guided Backstage Tours of the Opry House presented by Humana
2 p.m. – 3 p.m. – Backstage at the Grand Ole Opry Book Signing
Throughout the day – Opry House Yo-Yo-A-Thon
The public is invited for free self-guided tours of the Opry House 11 a.m. – 4 p.m. on March 16, made possible by Opry presenting sponsor Humana. Debuting that day will be a new backstage display commemorating the Opry House’s 1974 grand opening with artifacts including the yo-yo used by President Nixon and inscribed by Acuff, a printed invitation to the grand opening show, and a program from the night. The Opry House Yo-Yo-A-Thon is set to continue throughout the day Sunday, and visitors are encouraged to make donations to Hands On Nashville and Habitat for Humanity of Greater Nashville in lieu of regular tour admission.

Weekly Register: Sales Surge Following Grammys, Super Bowl


Musgraves accepts the Grammy for Country Album of the Year.

Musgraves accepts the Grammy for Country Album of the Year.

Both overall and Country album sales are up this week, with the former up eight percent from last week and the latter up six percent week over week. The Grammys and Super Bowl XLVIII have raised this week’s numbers and propelled sales for several artists. Double Grammy winner Kacey MusgravesSame Trailer, Different Park (Mercury Nashville) is the top Country album (No. 12 overall), rising 177 percent from last week (9.8k units last week, 27k units this week), selling 342k units RTD. Additionally, Grammy winner Lorde’s Pure Heroine rose 86 percent, landing at No. 3 overall, while Imagine DragonsNight Visions rose 65 percent, jumping to No. 8 overall. Finally, sales for The 2014 Grammy Nominees Album by Various Artists rose 47 percent, sitting at No. 2 overall.
Sunday (Feb. 2) night’s Super Bowl XLVII halftime show boosted sales for performer Bruno Mars and accompanying performers Red Hot Chili Peppers. Sales for Mars’ Unorthodox Jukebox increased 180 percent, taking him from No. 18 to No. 7 overall with 42k units sold this week (1.9 million RTD). Mars’ sales also benefited from the singer winning the Grammy for Best Pop Vocal Album. Meanwhile, Red Hot Chili Peppers are enjoying a red hot surge in sales following their performance alongside Mars on Sunday, with their Greatest Hits album rising 445 percent in sales, selling 8k units this week (2.2 million RTD). Past halftime performers, including Beyonce (2013), Madonna (2012) and Black Eyed Peas (2011) have all enjoyed a rise in sales following the Super Bowl.
Although artists across genres enjoyed sales boosts this week, Frozen: Original Motion Picture Soundtrack by Various Artists remains No. 1, selling another 93k units (863k RTD). YTD, overall album sales are down 13.2 percent, while Country album sales are down 16.5 percent.


Hunter Hayes“Invisible” is the top Country track this week (swelling from No. 47 to No. 17 overall with a 164 percent rise in sales), selling 91k units (126k RTD). The top Country debut (No. 33 overall) is Eric Church’s “A Man Who Was Gonna Die Young,” selling 49k units. Musgraves’ “Follow Your Arrow” continues to rise, moving to No. 2 (No. 26 overall) with sales up 98 percent from last week.
Katy Perry and Juicy’s “Dark Horse” remains the top overall track, selling 373k units this week and 2.6 million RTD. YTD, overall track sales are down 11 percent, while Country track sales are down 15.4 percent.
Next week’s numbers will include Suzy Bogguss’ Lucky, and debut albums from Eric Paslay and The Haden Triplets.

Industry Ink (2/5/14)

SESAC has signed singer/songwriter Jenny Lee Franklin for representation. The 18-year-old comes to Nashville from Columbia, Mo. where she has been writing and performing Country music since she was a child.

Photo: Peyton Hoge

Jenny Lee Franklin signs with SESAC. Photo: Peyton Hoge

 • • •

CMT After MidNite and CMT Radio Live host Cody Alan caught up with Little Big Town last weekend in Nashville when they made a stop on Keith Urban’s Light the Fuse tour. The group will be featured on this weekend’s CMT’s Hot 20 Countdown premiering Saturday and Sunday at 10 a.m. CT.


Little Big Town with Cody Alan

• • •

Melissa Schleicherphoto by Kristy Belcher

Melissa Schleicher
photo by Kristy Belcher

Nashville celebrity makeup artist Melissa Schleicher has announced three new business adventures to expand her Parlour 3 brand. Schleicher recently purchased an event beauty vehicle, the Parlour 3 Beauty Bus. The bus is available for on location rental for photo shoots, weddings, video shoots, corporate events, parties and much, much more. It is equipped for on-site styling and make-up applications. The Parlour 3 Beauty Bus will make its debut in Nashville for the Best Buddies Prom at Bridgestone Arena on Feb. 16.
Schleicher has also established a booking agency to source her roster of make-up artists for hire. The Parlour 3 Agency will be headed by her longtime agent Amber Shuff. Shuff can be reached at [email protected] or 615-969-8459. No agency fees will be charged for the bookings, with a website coming soon.
In addition, Schleicher has launched the website where customers can book appointments for hair services, spa treatments, tanning or make-up application.
Schleicher is a 20-year premiere make-up artist and currently the leading stylist for artists such as Alan Jackson, Brad Paisley, Carrie Underwood, Rascal Flatts, and more. Parlour 3 is located at 144 Franklin Rd., Brentwood Tenn.

MIDEM Blog—Fair Share for Creators

Jean Jarre

French recording artist Jean Michel Jarre at MIDEM

MIDEM Feb. 3 and 4, 2014
Was this the last MIDEM? That was a rumor rolling around Cannes this year, but longtime attendee John Singleton said that rumor goes around every year.
Attendance is down from ten years ago; the event is not crowded. Old timers complain that it’s not about the music anymore. In a class I teach at Belmont, “History of the Recording Industry,” I tell students that the music business is music, business and technology all rolled together, and that, at any given time, one of those is in the lead. It’s easy—and cool—to say, “It’s the music, man” and that is certainly true in the long haul. You may love Bing Crosby or Elvis or the Beatles and not be aware of the business or technology issues during their time.
At the start of the recording industry, the technology came first; the phonograph had to be invented, then the microphone, and then there had to be improvements in the equipment. Business came second because the industry had to figure out how to set up a profitable business foundation and structure or else the music would not survive. The music, though vitally important, came third. We have the same situation today; technology is in the lead and business has to figure out how to “monetize” (that’s a favorite word at music business conferences) the recordings.
Longtime attendees to MIDEM complain that it is more of a technology convention than a music convention and that the tech folks really don’t care about music. They only want to use it to enhance their technology. The fact is that MIDEM is, to a large degree, now a technology conference. There are seminars about social networking, streaming, and other issues connected to technology. There are “hack days” where people compete for the best app. People are trying to find ways to monetize the exposure they receive from digital technology. So the music comes third.
The other issue that arises is the need to have MIDEM. I remember going into my office at 6 a.m. to make phone calls to London, now I send an email and the next day there’s an answer waiting. Long distance calls were incredibly expensive; today phone rates are cheap. Because of technology, people are in constant contact; in the old days, a letter took quite a while.
MIDEM used to be a place where you received distribution into other countries for your product. Today iTunes and streaming services are in a number of countries, while Facebook and YouTube cover a lot of the world.
Face to face contact is important; technology will never replace a handshake and eye to eye conversation. However the cost of doing business in money and time seems to indicate that technology is rendering conventions like this much less important  than they used to be. The fact is that an international convention for people involved in the music industry is vitally important; the question: Is it MIDEM?
• • •
A special presentation from Europeans on “Authors’ Rights: What’s Next on the Agenda” opened Day Three (Feb. 3) at MIDEM. Collection societies led the discussion about “proper remuneration” for writers and it was noted several times that “there’s no quick fix solution—everything is connected to everything.” There was also the observation that “the creative society is looked down on by Brussels and Washington.”
Jean Michel Jarre, a well-known French recording artist and President of France’s CISAC, stated that in terms of getting paid, “We’ve fought the wrong battles. We wanted to get the consumers to pay. When we listened to radio, the rights were collected upstream. Now, we must do the same thing with the internet. The rights must be paid upstream. We need to make agreements with internet companies to get payments upstream.”
In a separate event, Jarre was interviewed by Music Week’s Rhian Jones on the topic, “Fair Share for Creators,” although he said a better title for the talk would be “How to create a sustainable future for the creative community.”
Jarre said, “Royalties have increased to almost 1 billion euros this year, but the bad news is that only four percent came from digital. If digital is the future, what could it be if it was 50-50? In the future, we might have 96 percent digital. We need to send a clear message to these people.”
The artist, who was recently in Los Angeles recording, said, “I have been impressed with how American musicians and filmmakers are watching Europe. We have protected author’s rights. We have increased the VAT (Value Added Tax) in France. Now, it is 5.5 percent for books, 7.55 percent for films, but for music it went from 19.6 to 20 percent. It is intellectual racism. The ticket for a film isn’t that different from a ticket to a music concert. France is good at protecting films and books, but not music.”
Jarre noted, “We need to stop thinking people with the internet are our enemies. Facebook and Google are closer to music than most politicians. We need the internet, but the internet needs us because music will exist long after the internet. Without our content they wouldn’t be able to sell advertising. The music industry has lost its voice. In the ‘60s the music industry did protest songs. We should be protesting now. We were rebels and we’re still rebels. We’re cool and we shouldn’t let the internet companies be cool by using our music and not giving us fair compensation.”
• • •
“The Next Big Thing is Licensing,” featured host Bill Wilson with the Music Business Association (formerly known as NARM, USA) and panelists Charles Caldas, Merlin (Netherlands); Richard Conlon, BMI (USA); Josh Deutsch, Downtown Records (USA); Florian Drucke, BVMI/IFPI (Germany); Melinda Lee, Getty Images Music (USA) and Mary Megan Peer with peermusic (USA).
Conlon stated that licensing is difficult “because there’s a couple of layers. It’s complicated because everyone is a creator now.” Melinda Lee echoed that statement, “Getting the rights to pair a song with a picture is so complicated.”
The remix culture is growing and artists don’t care about getting a record deal; they are getting endorsements and gigs. Mary Megan Peer stated, “We love the remix culture because it gives life to old songs. We just want them to license the songs. It is incumbent on us to make it easy for providers or users pay for music license rights.”
Wilson noted, “There is a format shift from what people were buying to what people are listening to. We must have faith in the power of evolution.”
“The Next Big Thing is Licensing" panel.

“The Next Big Thing is Licensing” panel.

• • •
Marcus Taylor, Director of Venture Harbour (U.K.), presented a study on “Creating Sharable Content in the Music Industry” which addressed the problem of finding an audience for content.
Taylor noted that every day there are two million blogs posted, 864,000 hours of video posted on YouTube, and 532 million Facebook status updates. So how does something go viral? “Viral is something that happens; it is not created,” said Taylor.
It comes from sharing, but what makes us share? Taylor said there are two reasons we share: (1) self interest and (2) altruism. Our self interest includes nurturing relationships, defining ourselves and promoting our agendas. Altruism means sharing our experiences and knowledge to help others.
So what do we share? According to Taylor, we share “things that are remarkable” because “remarkable things get remarked on.” We share things when triggered, things that are emotionally stimulating (negative feelings and anger are the tops here), we share things of practical value (useful information), and we share “what others are sharing.”
In terms of the music industry, information about royalties, income, sales figures and challenges are extremely shareable. Data driven content is also shareable “because in a world of sharing opinions, data stands out.”
Facebook is the most important social network for sharing in the music industry, according to Taylor, with 62 percent of all share on the music industry made on Facebook. He also pointed out that 55 percent of social traffic to music content comes through Facebook; however, Twitter has the highest number of visits.
In order to “create contagious content” you must “out-think your competition,” said Taylor. Content is contagious “when it stands out from the crowd, is emotionally stimulating, and is remarkable.”
• • •
A seminar on “Getting International With Big Data: The New Eldorado” was hosted by Ken Hertz, cofounder and principal of memBrain LLC (USA); with panelists Ime Archibong, Facebook (USA); Scott Cohen, The Orchard (UK); Gregory Mead, CEO musicmetric (UK); and Christophe Waignier, SACEM (France).
Ime Archibong with Facebook noted that “Facebook and data are synonymous,” adding that “750 million people touch digital devices on a daily basis.” Scott Cohen from The Orchard noted about data that “It’s the analytics around data that are important: who is using it, when and where are they using it, and why are they using it.”
Ken Hertz stated, “There’s good news and bad news about digital data. On one hand, data is the greatest thing for the music business. On the other, it is possibly the worst thing that could happen to people who lived in the music business. The music industry now is bigger than it ever was but the major players are smaller now than they ever were.”
Archibong with Facebook noted, “Music continues to be something that reverberates. Music is a conversation starter in the Facebook ecosystem.” An audience member asked Archibong, “Why isn’t Facebook paying for content?” Archlibong answered, “We believe we are providing transactional value and promotional value. Facebook makes marketing more personal, which helps the artist.”
“Consumers want to discover the next favorite band,” said Hertz. “And maybe data can get them that.”
Cohen countered, “I don’t think discover is the question—they’ve already got lots of music. From the end user, they just want the things they want and that is often bands they’ve already discovered. The problem with data is that it is backward; it’s what has happened… We need to cross into the 3.1 world. That’s where the gap is: What’s next?” He added, “The data you collect from music will be more valuable over time.”
Hertz noted, “Companies use music to sell something and, ultimately, it’s about figuring out what you sell to whom, so data is an opportunity to learn more. Who is taking data and giving back useful information or using it to build a business? The record industry hasn’t done a good job with research or doing something intelligent with data.” He noted that data isn’t very helpful in predicting success because “in the recording industry it’s nearly impossible for someone to succeed. It’s like winning the lottery.”
In a seminar titled “Developers Are the New Rock Stars,” a participant observed that “Brands have customers but want fans, while musicians have fans but want customers.” This means that the future of music is tied strongly to brands, who will pay for the “cool” factor to reach their customers and increase their business while music will see a major revenue stream through their connection to brands.

Juno Nominations Revealed

Tim Hicks

Tim Hicks

Nominations for Canada’s 2014 Juno Awards were revealed this week. Country singer Tim Hicks scored two nominations. The event is set for Sunday, March 30 at Winnipeg’s MTS Centre and will be broadcast on CTV.
Country Album of the Year
Started With a Song, Brett Kissel, BAK2BAK/Warner
Crop Circles, Dean Brody, Open Road/Universal
Country Junkie, Gord Bamford, Cache/Sony
Small Town Pistols, Small Town Pistols, 604/Universal
Throw Down, Tim Hicks, Open Road/Universal
Contemporary Christian/Gospel Album of the Year
Search the Heavens, Fraser Campbell, Independent/David C. Cook
Jordan Raycroft, Jordan Raycroft, Independent
Heart, The City Harmonic, Integrity/Provident
Lost & Undone: A Gospel Bluegrass Companion, The High Bar Gang, True North/eOne
Trees, Tim Neufeld, Independent/David C. Cook
Breakthrough Artist of the Year
Brett Kissel, BAK2BAK/Warner
Florence K, Red Blues/Universal
Tim Hicks, Open Road/Universal
Tyler Shaw, Sony
Wake Owl, Rezolute/Universal
See the full list of nominees.

LifeNotes: Krissy Dodson

Krissy Dodson

Krissy Dodson

Kristina “Krissy” Lawrence Dodson, wife of songwriter Dale Dodson passed away on Thursday, Jan. 30 in Franklin, Tenn. following a brief illness. She was 46 years old.
Born February 11, 1967 in New Orleans, La. Krissy is described by loved ones as “graceful, bewitching and whole hearted.” She was a beloved mother, wife, sister, and friend. She is survived by husband Dale; son Benjamin Dodson; daughter Jeniste’ Bell; grandsons Gavin and Landon; sisters Kyra, Elaine, Teresa, and Jena; nephews Ryan and William; and nieces Savannah, Alyssa, and Brianna. She is preceded in death by her sister, Diane, and parents Pellon and Aledamae Lawrence.
Kristina worked for 12 years at The Golf Club of Tennessee in Kingston Springs, and until her passing at Cool Springs International.
A visitation will be held at Williamson Memorial (3009 Columbia Ave., Franklin, TN 37064) today Wednesday, Feb. 5 from 1-3 p.m., with a memorial service following at 3 p.m. In lieu of flowers, the family requests donations to Thistle Farms/Magdalene House: PO Box 6330-B, Nashville, TN 37235.
Dale Dodson is the writer or co-writer of songs recorded by George Strait, Lee Ann Womack, Reba McEntire and Dierks Bentley. He joined Sony/Tree in 1992 as a writer and also consults on back catalogues. MusicRow sends sincere condolences to the Dodson family.

Nashville Benefit Concerts Planned For Billy Block

billy block

Billy Block

As previously reported, longtime Nashville music industry member Billy Block, host/producer of The Billy Block Show, has been diagnosed with stage 4 metastatic melanoma. As Block has been undergoing treatment, the Nashville music industry has rallied to support him. Several benefit shows have cropped up around Music City.
Today’s (Feb. 5) edition of The Billy Block Show will highlight The Jim Lauderdale Band, Kristi Rose & Fats Kaplin, Rocky Block, Bill LaBounty and a Tribute to Walter Hyatt, Duane Jarvis and Buck Jones, featuring David Ball, David Olney, Jon Byrd, Taylor Hyatt, Rocky & Grady Block, Jim Hoke and more. The show takes place each Tuesday at Mercy Lounge at 7 p.m. Tickets are $5.
Benefit details include:

XOXO Billy at The Hard Rock Cafe

What: Benefit Concert, featuring Black Diamond Experience, Truth & Salvage Co., Supe & The Sandwiches, Chris Casello Trio and Jane Rose and the Bearded Boys
When: Thursday, 7:30 p.m.
Where: Hard Rock Cafe, 100 Broadway
Tickets: $15. All proceeds benefit the Billy Block Family Fund. For more information, visit

A Benefit For Billy Block at The Bluebird Cafe

What: A Benefit for Billy Block, featuring Rivers Rutherford and Jeffrey Steele
When: Friday, 9:30 p.m.
Where: Bluebird Cafe, 4104 Hillsboro Rd.
Tickets: $100. All proceeds go to the Billy Block Family Fund, and are available through

All Around the Block at The Rutledge

What: All Around The Block, a tribute night featuring numerous artists, including Jim Lauderdale, Guy Gilchrist, Twangtown Paramours, Buddy Jewell and dozens more.
When: Monday, Feb. 17, 2014, 3 p.m. until midnight
Where: The Rutledge, 410 Fourth Ave. S.
Tickets: $10, payable at the door. All proceeds go to the Billy Block Family Fund.

Cruisin’ The Block at 3rd & Lindsley

What: Cruisin’ The Block, a night of music benefitting Billy Block, featuring Delbert McClinton, the Paul Thorn Band, Etta Britt, The McCrary Sisters, Lari White, The Rocky Block Band and more.
When: Wednesday, Feb. 19, 6 p.m.
Where: 3rd & Lindsley, 818 3rd Ave. S.
Tickets: $25, available at or at the door, with all proceeds going to the Billy Block Family Fund.
Funds can be donated to Billy Block Family Fund via Paypal account
A Billy Block Family Fund has been set up at Wells Fargo bank, visit any Nashville Wells Fargo bank office.
Out of town donations can be made via check, payable to Billy Block Family Fund, and mailed to:
Wells Fargo Private Bank
3100 West End Ave.
One American Center, Ste. 550
Nashville, TN 37203

Markland To Lead Downtown Music Publishing's Nashville Office

Steve Markland. Photo: Steve Lowry

Steven Markland. Photo: Steve Lowry

Steven Markland has joined Downtown Music Publishing, where he has been appointed as Vice President of A&R and will establish the company’s first office in Nashville, according to Justin Kalifowitz, Founder/President of Downtown.
In his new role, Markland will sign and develop emerging and established songwriters, acquire catalogs and work closely with Downtown’s creative teams in New York and Los Angeles to create new opportunities for the Company’s writer roster.  He will report to Kalifowitz and Downtown’s Chief Operating Officer, Andrew Bergman.
A 25-year veteran of the music publishing industry, Markland has nurtured some of the most talented songwriters in Nashville including Brett James and Jeffrey Steele, as well as the two-time 2014 Grammy winner Kacey Musgraves.
Prior to joining Downtown, Markland served as Vice President of A&R, Nashville at Warner/Chappell Music, a position he held since 2009. Previously, Markland was tapped to open Windswept Publishing’s Nashville office in 1996. From 1993 to 1996, Markland was Director of Creative Affairs at Patrick Joseph Music. A native of Ohio, Markland began his career in the music industry as an intern at RCA Records while attending Belmont University in Nashville.
“For over two decades, Steve has proven to be a tireless champion of songwriters,” said Kalifowitz.  “As we expand our business to Nashville, home to one of the most vibrant songwriting communities in the world, Andrew and I couldn’t be more delighted to welcome such a passionate and talented executive to our team.”
Katie Armiger, Rich Robinson and Dave Berg are among the writers affiliated with Downtown Music Publishing. The growing company established an office in Los Angeles in 2013. Downtown’s catalog spans over 60,000 titles including the works of such diverse writer/artists as The Beatles, John Lennon & Yoko Ono, The Kinks, Hans Zimmer, Motley Crue, Seal, Ellie Goulding, and Neon Trees.