BY THE OPTIMIST DAILY EDITORIAL TEAM
In the iconic setting of Carnegie Hall, a remarkable initiative is taking shape, one that seeks to bridge the stark gap between the industry’s diverse musical talent and its predominantly white leadership. The B-Side, a program specifically developed to empower young people of color, provides participants with a unique opportunity to learn about the multiple facets of the music industry, such as legal contracts and studio production. This program is a direct response to minorities’ underrepresentation in music management and executive positions, intending to develop a new generation of industry executives who reflect the diversity of the musicians who frequently top the charts.
A week-long immersion in the heart of the music industry
Bri Bernard, for example, describes The B-Side as a transforming trip rather than merely an educational encounter. Bernard, a young woman from the Bronx, was one of 40 trainees chosen for the program’s trial in the spring of 2023. “It was my first time working in a truly professional studio,” she shared, reflecting on her visit to Stanley Brown’s Pulse Music Studio. “That was simply awesome.” Bernard and her peers spent a week seeing key music venues, like the Louis Armstrong Museum, and receiving hands-on training from entertainment lawyers, union officials, and experienced musicians.
Donald Garner, popularly known as “Dr. G” by the students, emphasized the significance of these interactions: “Research and anecdotal evidence tells us about the lack of representation young people have, especially people of color, in terms of breaking into the industry.” The program’s immersive nature not only gives vital exposure but also catalyzes participants’ creative and professional development.
Diversity deserts in music management
While musicians of color routinely top music charts, their representation in management and administrative positions is disturbingly low. Ayanna Cole, the director of Carnegie Hall’s Social Impact Programs, cites a USC Annenberg study from 2021 that revealed a significant inequality in sector leadership. Even though nearly half of all musicians in popular songs are from underrepresented groups, the survey found that 100 percent of top executives at the nine largest music businesses were white, with only one female executive among them. “Put differently, there were 17.7 white male executives to every one Black female executive,” the research stated, emphasizing the critical need for initiatives such as The B-Side.
By focusing on the business side of the music industry, The B-Side confronts the “diversity desert” head-on. Students learn about contracts, royalties, marketing, and other important facets of the industry, giving them the knowledge and confidence to navigate and eventually lead in these areas. Cole stressed that “we really considered research around the lack of diversity in the music industry” when establishing the program, which now lasts four months and is expanding.
Beyond music: preparing for industry challenges
The B-Side curriculum includes more than just technical skills. Recognizing the special issues confronting underrepresented groups, the program begins and ends with classes on power, gender, and identity. “It’s important to learn about ways to keep yourself safe in any industry,” says Cole, “but in particular when you think about the ideocracy of the music industry with its big personalities and powerful celebrities.”
Cole’s personal background as a former Emmy-winning television producer influenced her approach to the program. Cole, who was “almost always the only woman of color on the production side,” recognizes the challenges that young people of color confront in creative sectors. Her dedication to leveling the playing field shines through in every facet of The B-Side, from the involvement of parents in the program to the stipends provided to cover participants’ expenditures. “It is important for the parents to know that there are lots of viable careers in the creative sector,” she says, ensuring that families grasp the industry’s larger opportunities.
From participants to pioneers: the impact of The B-Side
The impact of The B-Side is already visible in the accomplishments of its members. One student felt so motivated by the curriculum that she released her debut single soon after completing it. Another participant leveraged the connections formed during a studio visit to sign an artist to a label. Bernard’s goals have shifted dramatically, with her major changing from music composition to sociology in order to investigate the systemic disparities she has witnessed in the industry.
“The numerous opportunities to work in music that The B-Side showed me blew my mind,” Bernard says. “Before coming into Carnegie, I believed that there was one way to make it in the industry, and that was the path I had to follow. I have since encountered so many inspirational people and experiences that I wouldn’t have explored without the courage that The B-Side instilled in me.”
Bernard, who is now a student at the University of Wisconsin-Madison, is still creating projects that combine art, activism, and academia. Her work, which includes the “Tales of Black Motherhood” project and a music production for a play addressing the links between the caste system and institutional racism, exemplifies the depth and range of options that The B-Side has provided her.
As The B-Side continues to expand, success stories like Bernard’s highlight the program’s significance. Carnegie Hall is not just assisting individuals by providing young people of color with the tools, information, and support they require to thrive; it is also paving the path for a more diverse and equitable future in the music industry.
