those women wrote together ended up
on a record? We’re already changing the
numbers. So many women in our busi-
ness now want to help other women, so
we’re going to be creating mentorship
programs [with Step Up]. I think we all
had to acknowledge that the only way
we’re going to change the numbers, is if
we women change the numbers.
In 2019, you hired Troy Tomlinson
from Sony/ATV to become chairman/
CEO of UMPG Nashville, where you
are fourth in the market. What are
your plans for Nashville?
What writers felt about us in Nashville
was we took shots on them early and
developed them. But I always had my eye
on Troy, because I had a hard time with
the idea that if I’m aiming for Universal
to be the No. 1 global company, is it OK if
Nashville is just a little sweet, nurturing
place? Ultimately I decided that wasn’t
enough. Troy is able to attract a differ-
ent kind of talent than anyone else could
have. I’m going to continue to make
major investments there.
In the last several years there has been
an influx of private equity coming into
publishing that has caused multiples
to skyrocket. Does that affect how
you do business?
It’s a great sign that private equity is so
bullish about music publishing in terms
of valuation. I’m not saying that it’s a
great trend. I grew up in a time where
people did not sell their catalogs. My
pitch used to be, “Publishing is going to
buy your mother a house and send your
children to college and will be passed
on from generation to generation.”
People talked about their songs as their
children, and you would never sell your
child. But clearly the valuations are so
high that perhaps these writers feel
like now’s the time to do it. It’s against
what I believe in, because I believe in
nurturing songs. [But] the valuation
is flattering because when we sign a
songwriter, it’s our job to create value
for their catalog.
Can Universal, Sony/ATV and
Warner Chappell compete to buy
catalogs with the deep pockets of
private equity-backed indie publish-
ing companies?
I don’t know that we would have the
kind of success that we’re having if I
wasn’t fiscally responsible. I don’t earn a
fee from deploying money from private
equity. I’m not being rewarded for spend-
ing [parent company Vivendi’s] money,
I’m being rewarded for making the right
valuation ... I’m definitely in the business
of buying if somebody wants to sell. But
[private equity-backed indie publishing
companies] are gobbling up catalogs so
that they can turn around and sell them.
I’m holding on to and building catalogs.
What catalog do you wish you had?
The Philadelphia International catalog.
It was all the songs of my youth. I grew
up around Kenny Gamble and Leon Huff
and Thom Bell and Linda Creed. It was
my musical foundation.
In 2018, in the midst of the #MeToo
movement, you said UMPG would
“not knowingly sign an artist who has
committed a violent crime against
women or anybody else.” How hard
has that been to enforce?
It’s complicated because artists are com-
plicated people, and I try hard not to be
judgmental — but I try to be responsible.
The thing that concerns me more today
is signing artists who are troubled and
have emotional issues, mental health
issues, drug issues... and what do we do
about it? I would prefer always to sign
an artist who was putting out a positive
message. But great artists do artistry
that can often reflect our troubled times,
so I’ve softened my approach because
I’m trying to have compassion for artists
who go from zero to a hundred in a flat
second. Fame is an unnatural state.
What did it mean to you when UMPG’s
annual revenue hit $1 billion?
I aimed to run a company [where] integ-
rity was as important as great financial
results. And it worked... I think women
will truly be respected in business when
they can show that they’ve built a billion-
dollar business. No one can dispute the
financial success of this company. You
can’t. So now I will be viewed as a chair-
man and not as a female chairman. And
that’s really important to me.
A SINGULAR
PUBLISHER
Gerson is unique in the view
of many superstar artists and
songwriters with whom she has
worked. Five offer their praise
ELTON JOHN
“Jody is resolutely passionate about great
music and championing new songwriting
talents. We are both equally enthusiastic
about the important art of writing songs
and are always trading knowledge
about new songwriting talents we have
discovered.”
ALICIA KEYS
“Jody’s unmatched love for music is what
makes her such a unique person in this
business. She has a passion for discovering
unique talent and a love for timeless and
creative people. The boss of bosses, Jody
is a powerful and compassionate leader.
I find Jody can hear the specialness in a
song before even the artist who wrote it
truly knows its greatness. She’s a magician
at bringing together forces from different
walks of life to build incredible moments
and compositions. Jody is a beautiful force!”
JUSTIN BIEBER
“One thing that makes Jody so unique is
how much she really cares about the artists
she signs. She stays involved in our careers
and our lives, and develops authentic
relationships with us. She’s a very special
person.”
YG
“Jody is a boss. But outside of business, Jody
is a great human and a strong woman! Facts.”
ROSALÍA
“I’m honestly inspired by Jody Gerson for
her qualities as a groundbreaking woman in
the music industry, as a longtime supporter
of Spanish-language artists and as an
extremely insightful ally to songwriters.
She was one of the first people who bet
on me and had trust in me in this industry.
I feel blessed that she has felt such a
connection with my writing and music,
chose to bring me into a family of so many
incredible songwriters and has been so
generous with her guidance and advice.
As my career grew, I always hoped to
surround myself with a team of gifted
women, and Jody has become an integral
part — for which I am extremely grateful.”
“So many women in our business now
want to help other women ... The only
way we’re going to change the numbers,
is if we women change the numbers.”
—GERSON
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