Joe Belliotti, former head of global music at The Coca-Cola Company, has been named CEO of MassiveMusic North America.
The hiring of Belliotti comes after the recent acquisition of creative music agency MassiveMusic by B2B music licensing platform Songtradr. The deal, which has had MassiveMusic leading Songtradr’s B2B Music Services division since June 2021, brought together state-of-the-art music licensing technologies with best-in-class creation of bespoke music and strategy for brands and agencies.
With more than 20 years of experience helping brands drive business value and shape culture, Belliotti will further strengthen MassiveMusic’s leadership team. While leading both the New York and the Los Angeles offices, Belliotti will be focusing on maximizing MassiveMusic’s potential in North America. Together with his team, he will support and partner with brands by:
- Amplifying brand content and experiences through bespoke music
- Driving brand strategies through music partnerships
- Building equity through sonic branding and voice design
- Providing global music licensing services
Belliotti said, “Brands today see that having a data-informed strategic approach to music and sound gives them a competitive advantage in building relationships with audiences, driving business and shaping culture – and rightly so. There is no other music agency in the world like MassiveMusic: I first saw their unique offering, reach and expertise while in my role at Coca-Cola. That’s why I am beyond excited to lead a team of undeniably talented music experts and brand builders. Our ultimate goal is to continue to simplify the complexities of music and sound for CMOs, brand teams and their agency partners, and help them create impact.”
Throughout his career, Belliotti has worked with hundreds of artists, from emerging talent to renowned music icons such as Queen, Drake and Janelle Monae to name a few. Most recently, he co-founded The Music Division, an outsourced music department working with emerging and established brands.
Since 2000, MassiveMusic has been developing a strong, international footprint with seven offices around the world – with MassiveMusic New York opening in 2005 and Los Angeles opening in 2008 – supporting each other in an open and collaborative way.
MassiveMusic continues its plan for international growth by expanding its team and partnering with additional brands in the U.S., after working for clients such as Apple, Colgate, Oreo, Dr Pepper, Visible, Nike and Heineken.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More