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Mathew Knowles Talks Sync, Deals, and Why Gospel Doesn’t Get Its Fair Share (Article by Mark Frieser)

by on November 23, 2012

Mathew Knowles is best known as manager of Destiny’s Child and, of course the father of Beyonce and Solange. Over the past two decades, his Houston-based label and management company Music World Entertainment has overseen the careers of those artists as well as From Above, Andrea Helms and Bryan Courtney Wilson — and a label that includes works from Earth Wind and Fire, The O’Jays, Chaka Khan, Kool and the Gang, and Johnny Cash.

Mathew Knowles is best known as manager of Destiny’s Child and, of course the father of Beyonce and Solange. Over the past two decades, his Houston-based label and management company Music World Entertainment has overseen the careers of those artists as well as From Above, Andrea Helms and Bryan Courtney Wilson — and a label that includes works from Earth Wind and Fire, The O’Jays, Chaka Khan, Kool and the Gang, and Johnny Cash.

He no longer manages Beyonce but continues to oversee Destiny’s Child, who are currently inactive but dropped a new compilation, “Playlist,” last month, with a DVD to follow in February 2013.

As a manager, executive and songwriter and a 20-year career as a corporate exec (including recognition as one of the top salesmen at Xerox), Mathew has a unique perspective on the value of sync, placement and licensing in building an artist’s audience and contributing to the bottom line. He talked with us about licensing challenges and opportunities — both as a creator and seller — the evolving market, and sync’s importance in artist development, marketing, discovery, breaking an artist, branding and revenue-generation.

Q: How does sync licensing, as a business line and revenue source, play into your strategic thinking as a record executive, manager, songwriter and publisher, and how has it changed over the years?

Traditionally, sync was an ancillary revenue source, and to some degree a brand-building tool. But as a market channel for the artist, it took a backseat to radio, videos and touring. [Today] it has become much more important. It’s a strategic way to expose potential fans to new music, and really one of the primary methods to gain exposure, promotions and discovery for artists.

 

Click here to read the rest of the interview at www.disconic.com

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