PUBLISHER:
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FOUNDER: Kevin Ross kevin.ross@theindustry.biz
CONTRIBUTORS: Hassahn Liggins, Ayanna Cymone, Tre’oshola Monet, Deborah Walker, A. Scott Galloway, Ural Garrett, Ian Wanjala, Coka-Lani Kimbrough, Headkrack
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In the ever-evolving landscape of broadcasting and the music industry, few individuals have had as profound an impact as Dyana Williams. Her journey, marked by dedication, resilience, and an unwavering commitment to uplifting her community, began at 96.3 WHUR-FM in Washington D.C. in 1973. As an on-air personality, Williams set a standard that would define her career for decades. Her early experiences at WHUR-FM not only honed her skills in playing great music and interviewing artists but also instilled in her the importance of sharing vital information to improve people’s lives.
Williams’ career has spanned various mediums, from radio and television to print journalism and media strategy. Despite the pressures of public visibility, she has maintained a balance, keeping her personal life private while making significant professional strides. As the founder of the International Association of African American Music Foundation (IAAAAM) in 1991, Williams aimed to promote and preserve Black music. Under her leadership, the foundation hosted professional conferences, Black-tie galas, and gospel brunches, and facilitated international music delegations, significantly impacting the global music landscape.
One of Williams’ most notable achievements is her co-creation of Black Music Month. Alongside Kenny Gamble and Ed Wright, she was instrumental in advocating for the recognition and celebration of Black music’s cultural and economic contributions. Through her relentless efforts, Black Music Month gained recognition from the House of Representatives and saw presidential proclamations from every American president since Bill Clinton.
Through her work on TV One’s “Unsung,” Williams has expertly balanced historical significance with audience engagement, highlighting the subtler shifts in the music industry that might not be apparent to outsiders. Her ability to elicit deep, meaningful responses in interviews is a testament to her skill and experience.
As a media coach, Williams tailors her guidance to the unique needs of upcoming artists and personalities, helping them navigate the digital era with confidence. Her influence extends beyond her professional accomplishments, as her Afro-Latina heritage profoundly shapes her narrative and choices within the music industry.
KR: How have significant life events shaped your career path and your priorities?
DW: God is my pilot, and I’m on an incredible journey. Encouraging parents, family, and friends have supported me in enjoying my work. Significant life events have taught me to appreciate every moment and stay true to my goals.
KR: Over the years, has support for Black Music Month fluctuated, and what is its current state?
DW: Black music continues to flourish, but we still need financial equity and respect for those who create and perpetuate it. The support for Black Music Month has grown, with more
increase streaming amounts and other payments, and continually reinvent as it progresses with the times.
KR: Looking back, what do you hope people say about your impact on the music and broadcasting industries?
KEVIN ROSS: How has your family influenced your career choices and supported your journey?
DYANA WILLIAMS: My family, especially Kenny Gamble, has been a significant inspiration and support. Our children have grown up in the music industry, and now they are continuing the mission we started decades ago. Their involvement and understanding of my career have been invaluable.
KR: As you look to the future, what personal or professional goals are most important to you?
DW: Life is for full living, and I have a lot more to actualize. I’ve always been a public speaker, and I look forward to more paid engagements with major companies, universities, and community organizations. I relish discussing Black/American music and culture. Additionally, I am a producer for the Wawa Welcome America Festival in Philadelphia.
corporations and communities recognizing its significance and contributions.
KR: With such a busy schedule during Black Music Month, can you walk us through what your typical day looked like?
DW: Lots of travel and speaking on panels! The month kicked off in Philly with recognition at the Roots Picnic, followed by events in Nashville, Los Angeles, and Philadelphia. We had panel discussions, celebrations, and concerts throughout the month, highlighting the contributions of Black music.
KR: From your vantage point, where do you see the music industry heading in the next few years?
DW: The music industry must keep up with new technologies, like AI, and adapt to changes in how consumers absorb music and videos. The industry needs to regard creatives’ rights, promote and properly pay more executives of color and women,
DW: I hope people say that I lived out loud, fulfilled most of my goals, mentored others, loved what I did, and had more high-octane fuel in my tank. I’ve been recognized by presidents and received numerous awards, but the true measure of my impact is the lives I’ve touched and the legacy I’ve built.
KR: Balancing family and career is challenging; could you share a personal story that highlights how you’ve navigated this aspect?
DW: I’ve shared my experience when Cathy Hughes offered me the program director job at Majic. Balancing family and career was tough, but involving my children in my work helped maintain that balance.
DW: The music industry must keep up with new technologies, like AI, and adapt to changes in how consumers absorb music and videos. The industry needs to regard creatives’ rights, promote and properly pay more executives of color and women, increase streaming amounts and other payments, and continually reinvent as it progresses with the times.
DAVID LINTON
As Black Music Month wraps, we have seized the opportunity to spotlight influential figures who have shaped the industry with unwavering dedication and visionary leadership. Among these luminaries is David Linton, the Chairman of the Living Legends Foundation© Inc. (LLF), a pivotal organization committed to the preservation and celebration of black music. With over three decades of service, LLF stands as a unique entity within the music community, often described as a “bridge over troubled waters” for many and a beacon of light for aspiring students through its Scholarship Program. Under Linton’s stewardship, the Foundation not only honors the legacies of black music professionals but also addresses contemporary challenges and the evolving landscape of the industry. As we engage in a candid conversation with Chairman Linton, we explore the impactful journey of the LLF, its current initiatives, and the forward-looking steps it plans to take as it approaches its 35th anniversary. Join us as we delve into the insights and reflections of one of the guiding forces in black music, David Linton.
THE INDUSTRY DOT BIZ: Can you elaborate on the mission for the foundation?
TIB: Can you share your thoughts on Azim Rashid’s appointment as president?
DAVID LINTON: For 33 years, The Living Legends Foundation’s mission has been two-fold: to honor the legacies of black music icons and empower those currently navigating the industry. We provide financial grants to black music industry professionals in need and provide scholarships for black students pursuing non-performing careers in entertainment. This mission is even more crucial today as the music industry undergoes significant changes.TIB: What are the biggest challenges facing the Black music industry today?
TIB: What are some of your greatest challenges?
DL: The biggest challenge is a misconception within music labels that you can "do more with less." . On the flip side, technology can't replace the reach of radio, especially in underserved communities. Additionally, ownership and fair distribution of music profits remain major issues.
TIB: What exciting upcoming events or initiatives does the Living Legends Foundation have planned?
DL: We have two key initiatives. First, we're transitioning to a membership-based organization to better serve the industry. Second, we're expanding our scholarship program to invest more heavily in future generations.
DL: I’m thrilled to have Azim on board as president. I’ve witnessed his growth as an executive and know he possesses the perfect blend of experience and enthusiasm for this role. He’s already been actively involved as co-chair of our Scholarship Committee, and I have no doubt this will be a period of significant progress for the Living Legends Foundation.
TIB: What are Azim Rashid's previous experiences that make him qualified to lead the Living Legends Foundation?
DL: Azim Rashid's experience as a senior executive at major labels like Roc Nation and Columbia, combined with his work with other non-profits, makes him uniquely qualified to lead a geographically dispersed organization. His innovative thinking will be invaluable as we move forward.
TIB: What are Azim Rashid's long-term goals for the Living Legends Foundation?
DL: Azim plans to build on the strong foundation laid by previous leadership while making the organization even more relevant to those who might need our help but aren't aware of it. He's committed to evolving our approach and finding new ways to connect with our community.
In Sony Music Publishing hosted its second annual SMP x BeatStars Hitmaker Week, a global songwriting camp held from April 1-5 in Miami, Florida, at Circle House Studios. The event brought together an expanded group of 67 songwriters, producers, and artists from around the world for collaborative sessions, educational workshops, and more.
Renowned artists from across genres attended the event, including Farruko, Brray, Nardo Wick, Rob 49, ScarLip, and others. The camp represented a joint effort across SMP’s global territories, including Latin America, US Latin, UK, US, Sweden, Italy, Germany, Canada, and more. As the exclusive supporting partner of the second annual SMP x BeatStars Hitmaker Week, Meta hosted ‘Meta Loves Music - Facebook and Instagram for Songwriters & Producers,’ an educational session informing attendees on Reels best practices, new features, and general music product updates to help them build community, connect with fans, and share their music. Several attendees participated in #SongwritersonReels interviews, sharing their experiences at Hitmaker Week and discussing their latest creative endeavors.
Sony Music Publishing highlighted its commitment to empowering creators and advancing collaboration through its Hitmaker Week activation with Sony Electronics and its brands For The Music and Sony Alpha. Sony Electronics hosted a 360 Reality Audio workshop for attendees, provided professional audio equipment, captured content with Sony Alpha cameras, and supplied talent with Sony’s MDR-MV1 studio headphones, WH1000X noise-canceling headphones, and LinkBuds S noise-canceling earbuds to enhance the songwriting process.
In this story, we will be interviewing Walter Jones, EVP, Head of A&R, Sony Music Publishing; Simone Dixon, Manager, Creative A&R, Sony Music Publishing; and Will Skalmoski, Director, Creative A&R, Sony Music Publishing about the event and the purpose of it.
THE INDUSTRY DOT BIZ: What was the primary objective behind organizing the SMP x BeatStars Hitmaker Week?
Walter Jones, EVP, Head of A&R, Sony Music Publishing: The goal of Hitmaker Week is to expand opportunities for global collaboration, relationship building, and creative development across the SMP x BeatStars community through the support of SMP’s global network and creative services teams. After several months of planning, Hitmaker Week resulted in a productive week of sessions, workshops, and meaningful connections.
TIB: Can you describe the selection process for the 67 creators who participated in this event?
Simone Dixon, Manager, Creative A&R, Sony Music Publishing: We noticed that BeatStars producers are increasingly
creating for both hip-hop/R&B and Latin genres. Last year, we had some new success in Latin music, with songs like “La Bebe – Remix” by Yng Lvcas and Peso Pluma, and “Lollipop” by Darrell. We worked collaboratively with BeatStars and SMP’s Miami and European offices to bring in a diverse group of creators who could work across both areas.
TIB: How did the collaboration between Sony Music Publishing and BeatStars come about?
Will Skalmoski, Director, Creative A&R, Sony Music Publishing: Sony Music Publishing and BeatStars’ partnership was launched in 2020. In the few years prior, SMP had started working with more producers who began their careers on BeatStars. We were impressed by the talent and entrepreneurial spirit on the platform, and after speaking with BeatStars, we found that we shared many of the same goals for the producer community. Our partnership has led
to increased opportunities for global collaboration across our roster and many key signings that we can now develop creatively.
TIB: What were some of the key highlights from the educational workshops during Hitmaker Week?
Will Skalmoski, Director, Creative A&R, Sony Music Publishing: Sony’s ForTheMusic and Pro Audio teams worked with our talent to introduce them to premier tools and discuss new ways to record and mix records. Meta presented a workshop on using Instagram to elevate their careers. Meta also filmed interviews with a few participants to commemorate Hitmaker Week and talk about this unique time in their careers.
TIB: How did the event facilitate networking opportunities for emerging songwriters and producers?
Walter Jones, EVP, Head of A&R, Sony Music Publishing: Relationships are the important legacy of these camps – we want to make sure the attendees leave these camps with a larger network of collaborators. We saw many producers connecting with artists during sessions, and our studio house was active with “cook ups” where producers were making beats with each other as they prepared for artist sessions, opening doors for further relationship building.
What feedback did you receive from the participants about their experience at Hitmaker Week?
Walter Jones, EVP, Head of A&R, Sony Music Publishing: Overall, we received very enthusiastic, positive feedback. It is rewarding to see participating songwriters and producers continue to build those relationships outside of the camp and to listen to new collaborations that have resulted from Hitmaker Week. Relationships are the most important legacy for these camps.
TIB: How do you see the impact of such events on the careers of emerging artists and producers?
Will Skalmoski, Director, Creative A&R, Sony Music Publishing: A few producers went from pressing play on beats to actively producing the song with an artist in the room. It is great to see them developing their skills and building their confidence around the in-studio recording process – it enables us to push them into bigger opportunities. Additionally, our label partners (Epic, RCA, 10kProjects, Rebel, The Orchard) worked with us to bring in some of their best emerging artist talent in these sessions, allowing us to support these artists early in their creative journeys.
TIB: What were some of the memorable collaborations that emerged from the camp?
Simone Dixon, Manager, Creative A&R, Sony Music Publishing: We were grateful for the opportunity to collaborate with some of today’s biggest talents
including Skillibeng, Nardo Wick, Rob49, Farruko, Brray, and ScarLip. Having all of them in one place was exciting, especially when we started seeing two or three new songs resulting from each session.
TIB: Can you share any success stories from previous Hitmaker Week events?
Will Skalmoski, Director, Creative A&R, Sony Music Publishing: Our producers 1SRAEL and Dystinkt made a beat together in Stockholm, Sweden last summer, and when 1SRAEL had the opportunity to work with Gunna earlier this year, he brought it into the room and landed the single “Bittersweet.” The song broke into the Billboard Hot 100 and was featured as the title of his album. It was exciting to see new relationships flourish and for one of their beats to land a major cut.
TIB: How does Sony Music Publishing plan to build on the success of this year’s Hitmaker Week?
Simone Dixon, Manager, Creative A&R, Sony Music Publishing: We will continue hosting these camps around the world to service this growing community. We are planning to produce a similar camp in Europe, and we are aiming to bring the event to another US city to reach new songwriters, artists, labels, and genres.
TIB: In what ways do you think the participation of renowned artists influenced the camp?
Simone Dixon, Manager, Creative A&R, Sony Music Publishing: Renowned artists make the possibility of big success very real for the participants. Many producers were working around the clock to make sure they were ready for the biggest talent. It really brought the producers to their best.
TIB: How does Sony Music Publishing’s global reach contribute to the success of events like Hitmaker Week?
Will Skalmoski, Director, Creative A&R,
Sony Music Publishing: The planning committee for this team spanned seven SMP offices across the US and Europe. These camps work because we have a diverse team that can support the wide variety of talent that we aim to service. Nearly every creator can point to a local SMP office to look out for them.
TIB: How important is it to have support from companies like Meta and Sony Electronics in such initiatives?
Simone Dixon, Manager, Creative A&R, Sony Music Publishing: These partners give us a chance to develop other aspects of songwriters’ careers. In Miami, they walked away with elevated tools and knowledge, as well as the ability to better market themselves on Instagram.
TIB: Can you discuss any upcoming projects or releases from the collaborations made during Hitmaker Week?
Walter Jones, EVP, Head of A&R, Sony Music Publishing: Our first release arrived two weeks following the camp with Lil Tim on 10kProjects, and we are expecting upcoming releases from other participants in the coming weeks. We don’t want to spoil anything, but we are excited for everyone to hear these songs.
Sheila O, the dynamic host of the new show “Afrozons” on Superadio, has taken the music world by storm. With a passion for Afrobeats and a background as a booking agent, Sheila has successfully bridged the gap between African and American audiences, bringing vibrant Afrobeat music to the forefront. In this exclusive interview with The Industry Dot Biz, Sheila shares her journey, the challenges she faced, and the innovative strategies she employed to promote Afrobeats. From collaborating with the Dubai Tourism Board to overcoming resistance from radio stations, Sheila’s story is one of perseverance, creativity, and cultural pride. Join us as we delve into the world of Afrozons and discover the impact of Afrobeats music globally.
KEVIN ROSS: Tell us a little bit about how your company works in conjuction with the show?
SHEILA O: Basically, with Afrozons, when we started on the radio, we wanted to provide a service to our listeners. We aimed to create an experience beyond just consuming Afrobeats music. My background as a booking agent allowed me to bring a lot of artists to Africa, the Middle East, and the United Kingdom for major concerts. We partnered with the Dubai government and Dubai Tourism Board to provide affordable luxury trips for African Americans, addressing misconceptions about Dubai. Our partnership targeted a younger demographic, bringing radio personalities like Tigger to Dubai to promote the culture and experiences.
KR: I’m impressed for two reasons. First, you took something you did previously and used that equity to create something else, which is something I always discuss with my readers. We already have what we need; we just need to tweak it. Second, how did you manage the resistance from radio stations regarding discussing nonadvertised content?
SO: Yes, we did face some resistance from radio stations that wanted their own hosts to benefit more. However, we made it clear that any personality we fly out must promote the show, culture, and discounts. We also allowed them to bring a plus one to make it more appealing. The benefit was for the listeners, with free tickets and all expenses covered. The response was amazing, with phone lines going crazy during
promotions.
KR: Again, I’m impressed by how you navigated that maze to benefit both parties. Now, tell me about the resistance you faced when introducing the concept of Afrobeats.
SO: That back in 2017. Afrobeats was huge globally but not in the US. When we approached Power 92 in Chicago, they took a chance on us. Initially, there was resistance from listeners and even threats, but we persevered. We had some fans who loved the new sound, and over time, more people embraced it. Now, Afrobeats is a huge hit, and we’ve moved from the midnight slot to prime time, with the show becoming national.
KR: Your timing was impeccable. Resistance often means opportunity. What do you think was the catalyst for Afrobeats becoming so huge despite the initial resistance?
SO: With all humility, we at Afrozons didn’t give up. We kept pushing the sounds, promoting them, and collaborating with DJs and clubs. Black Panther [the movie] was a significant turning point, making Africa cool again. Collaborations with artists like Drake and Beyoncé also played a big role. The quality of the music and relentless promotion helped Afrobeats gain traction in the US.
KR: How many stations were you on before you joined Superadio?
SO: Initially, we were on Power 92, then we expanded to a few non-commercial stations with Sheila Eldridge’s help. Now, with Superadio, we aim to go national, reaching more markets and offering more trips to Africa
and other exotic locations.
KR: What’s the difference between African radio and American radio?
SO: African radio is not as monetized or structured as US radio. Royalties and publishing are still developing in Africa, with labels handling most of the promotion and management. However, the population and passion for music in Africa are immense, making it a growing market.
KR: How important is it for African artists to remain true to their culture in the process of doing Afrobeat?
SO: It’s crucial. While some artists sign deals that may compromise their originality, many are now more aware and cautious. With more exposure and investments, African artists are learning to navigate the industry without losing their cultural essence.
KR: Give me three to five artists who are under the radar right now but will be huge in the next couple of years.
SO: Omah Lay, Rema, Fireboy DML, and Ayra Starr are all incredibly talented and on the rise. Each has unique sounds that resonate globally, and they’re already making waves in various markets.
KR: What does the future look like for Sheila O? Do you still want to stay on the air or create an empire with others doing these shows?
SO: I want to grow gracefully and build an empire by mentoring and supporting younger talents. My goal is to expand Afrozons
globally, bridging the gap between Africa and the world, while staying true to my roots and giving back to the continent.
KR: It has been an inspirational conversation, Sheila. I think you’re going to be a huge star, and the show will do exceptionally well. Your timing is impeccable, and I believe Afrobeats will continue to grow in this country. I look forward to
seeing your success and joining one of your trips someday.
SO: Thank you, Kevin. It takes a village to raise a child, and Afrobeats is that child. We all have a role to play in its growth and success. I look forward to working together and making a global impact.
Jess Hilarious is the dynamic and unapologetic co-host of The Breakfast Club. She’s a comedian who has built her career both on social media and the stage. Her honesty and likability make it evident that she’s only scratching the surface of her potential. Jess brings an incredible boost of humor to The Breakfast Club, creating unmatched chemistry with Charlamagne and Envy. This chemistry has not only revitalized the show in a greater direction but also expanded its intriguing presence across all platforms. In this candid interview, Jess opens up about her path to success, the challenges she’s faced, and her future aspirations. Join us as we delve into the life and career of Jess Hilarious, a force to be reckoned with in the world of entertainment.
Kevin Ross: I saw that when you announced your pregnancy, it got more attention than anything else. How did that feel?
Jess Hilarious: It’s interesting because it overshadowed many great segments I do, like The Mess and other content. But it showed me how much personal news resonates with people.
KR: When you started on The Breakfast Club, whose idea was it to keep your role a secret and create speculation?
JH: That’s a funny question. It wasn’t really anybody’s idea. I actually take the blame for that. I wasn’t supposed to announce it, but I did because I wanted to put them under fire for taking so long to finalize things. Charlemagne decided to run with it after my announcement. I didn’t hear from anyone for a while, and then
JH: It’s challenging. Moving to the tri-state area was a big decision because it’s not just a job; it’s a move. I have a child and another on the way. Balancing everything is tough, but I’m committed to making it work.
KR: What is your favorite part of doing The Breakfast Club versus what you expected?
JH: I expected it to be exactly what it is. What I didn’t expect was having to do interviews. I don’t like being the person asking questions about other people’s lives. It’s challenging to do the research and prepare for interviews, especially with politicians and doctors, which are not my strong suits.
KR: How do you handle doing research for your news each day?
they finally reached out about three weeks later.
KR: So the speculation about you losing the job was not planned?
JH: No, it wasn’t planned. I didn’t hear from Charlemagne, iHeart, the program director, or Envy initially. When I announced it in Baltimore, I didn’t expect it to go viral. I was just trying to light a fire under them because the process was taking so long.
KR: How did you feel about the reaction and the speculation?
JH: I was surprised it went viral. I was trying to push them to finalize things. I was upset for a while because no one reached out to me after my announcement. It took a few weeks before they got back to me.
KR: You mentioned you have a lot going on with your family and career. How do you balance it all?
JH: I enjoy it. Before The Breakfast Club, I did my own news segments on social media. Now, I try to expand the topics to include more than just gossip. I want to bring awareness to various issues, like new health concerns or global events, to our large audience.
KR: What do you hope to accomplish with The Breakfast Club?
JH: I want it to be a pivotal point in my career, leading to my own TV talk show. I don’t plan to stay in radio forever, but it’s a great platform to build my brand and reach the next big thing in my career.
KR: I’ve noticed you’ve had to deal with some negative energy. Where do you think that comes from?
JH: It comes from being an unapologetic, confident black woman. People often attack confidence, especially in our community. I stand by my opinions and don’t shut up for anyone, which can attract negativity.
KR: Is there anything you’ve said that you regret?
JH: Other than the joke about Chadwick Boseman, no. That taught me to be more aware of what people might be going through. I never intended to hurt anyone, but it was a lesson in understanding the impact of my words.
KR: Do you think we, as black people, understand our power and influence without relying on corporations?
JH: No, not everyone does. Many of us seek validation from outside our community, which holds us back. If we supported each other more and recognized our power, we could achieve greater things.
KR: What do you think about people who go viral repeatedly but don’t have their own platforms?
JH: It’s about resources and support. Some people may not want to take the risk or they may not have the help needed to create their own platforms. It’s easier to work with established platforms, but having your own can provide more control and [financial] benefits.
KR: How did you get your start in social media and influencing?
JH: I started doing videos on Instagram when they were 15 seconds long. My first sketch went viral, and Nick Cannon noticed me, which led to more opportunities like Wild ‘N Out and roles on TV. I kept evolving my content, and during COVID, I created several web series that helped grow my audience on YouTube.
KR: Was transitioning from social media to stand-up comedy difficult for you?
JH: Not really. I was doing both early on, thanks to encouragement from my godbrother. It wasn’t hard for me, but I understand why it can be challenging for others. I was thrown into headlining quickly, which helped me adapt.
KR: What do you think about people going viral but not creating their own platforms?
JH: It’s a missed opportunity. They should build their own platforms to control their content and audience. It’s important to create a space where people can consistently come to you rather than relying on others.
KR: What do you hope to accomplish with The Breakfast Club?
JH: I want it to be a stepping stone to my own TV talk show. I plan to use this platform to reach my next big goal and eventually come back to radio later in my career.
KR: Do you have any upcoming projects you can share?
JH: I have a book coming out about co-parenting with my son’s father, an eyewear line called Messy Vision, and an athletic wear line. I’m also working on a major project that I can’t talk about yet, but it’s going to be amazing.
Pic: The Breakfast Club Charlamagne Tha God, Jess Hilarious and DJ Envy. Photo courtesy of iHeartRadio
In the dynamic landscape of the music industry, where change is the only constant, Azim Rashid stands as a beacon of innovation and leadership.
As the newly appointed President of the Living Legends Foundation, with career stops at Atlantic, Capitol, Roc Nation and Columbia, Azim brings a fresh vision to an organization deeply rooted in the preservation and celebration of black music. With a storied career that spans high-profile roles, coupled with his impactful work with non-profits, Azim is uniquely poised to steer the Foundation into a new era. As we mark the end of Black Music Month, we sit down with Azim to discuss his ambitious plans for expanding the Foundation’s scholarship programs, enhancing mentorship opportunities, and ensuring the long-term sustainability of this vital institution. Join us as we delve into the future of the Living Legends Foundation through the eyes of its visionary leader, Azim Rashid
THE INDUSTRY DOT BIZ: How many scholarships has the Living Legends Foundation awarded in total?
Azim Rashid: The foundation has been around for almost 35 years, but our scholarship component is relatively new. To date, including the school year 2023-2024, we have awarded eight scholarships to students from a diverse set of institutions including Shaw University, Clark Atlanta, Yale, Texas Southern, USC, George Mason University, Pomona College, and Hampton University. The program is primarily funded through our annual A.D. Washington Scholarship Golf Tournament—our 11th tournament was just held in April—and through corporate and private donations.
TIB: Can you share some success stories of scholarship recipients?
AR: Absolutely. First and foremost, they graduate! I’m proud to share that one of our current recipients, a rising senior, was recently named Head of Label Affairs at Yale’s student-run record label, 17o1 Records. He is also entering his second consecutive year as an intern at Sony Music Publishing. Another one of our scholars from USC just graduated with a Bachelor of Music and will attend USC Marshall School of Business for grad
school, focusing on marketing.
TIB: Are there any plans to expand the scholarship program?
AR: Yes, since joining the scholarship committee in 2018, my mission has been to provide sustained gifts that will cover at least 2025% of the total cost of attendance from freshman through senior years. We currently have a capped gifting structure, but we aim to provide at least ten four-year scholarships. It’s an ambitious goal but certainly attainable and will significantly impact our community.
TIB: Does the Living Legends Foundation offer mentorship opportunities alongside scholarships?
AR: The next step is to formalize a mentoring program, where students will be paired with both a seasoned mentor and a peer mentor, akin to an older uncle or aunt and an older cousin or sibling. Mentorship is a cornerstone of leadership, and I am a staunch advocate of the practice.
TIB: What are your longterm goals for the Living Legends Foundation?
AR: I aim to make the Living Legends Foundation the best in class among non-profits.
Our pillars of service, scholarship, and the preservation of the legacy of black executives are sustainable benchmarks that remain relevant no matter what phase of your career you are in. I want all executives, past, present, and future, to see this as their foundation.
TIB: How do you plan to build upon the work of previous leadership?
AR: We stand on the shoulders of those who came before us. Our founders and past leaders have set high standards, and I want to bring in current and future executives who possess those qualities to take the organization to new heights. I want to amplify the legacies built and ensure we build people up in a business that often wears them down.
TIB: How can individuals become involved with the Living Legends Foundation?
AR: Membership is straightforward. If you have worked or currently work full-time in our business, you’re already a member; you just need to pay your yearly $100 taxdeductible membership fee. If you’re able, we do provide exemptions. Simply go to our website and complete the application. This is your foundation!
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