Big Jon Platt, EVP/Head of Urban, EMI Music Publishing
The Urban Network Interview

By A. Scott Galloway, Music Editor

Q: Let's start with an overview of the groundbreaking 2-Day conference that EMI had for its writers and eager record labels?

A: We did it in '06 as a one day conference in Los Angeles. The information that was shared was so overwhelming that I knew we had to expand it to two days. So this year in March, we did two days and moved it to New York.

We had between 70 and 80 participating writers in the room. Each record label gave a presentation based around all of the projects they have coming that they were looking to have songs placed on. They played a bit of the material they already had to give the writers a vibe for what the project was already sounding like. This way, our writers knew exactly what the labels are looking for.

A tremendous number of writer collaborations started right there at the conference. The chemistry was amazing!

Splitting it into two days made it easier for everyone to digest the wealth of information. It also allowed us to have meetings in the day and actual studio workshops at night. This conference is definitely going to be something we do annually.

Q: Tell us one guaranteed hit that will come from this confab.

A: Our producer Lashawn Daniels (a frequent Rodney Jerkins collaborator) and a new producer signed to us through Usher named Soundz wrote "Get Used to Her" for Usher, he recently recorded that song.

Q: You visited the White House this year for President Bush's salute to Black Music. What was that like for you?

A: Surreal is the best way I can describe it. I'd never been to the White House before, so I had to pinch myself thinking about all the history that has happened there. The wall with portraits of all the past presidents alone blew me away. To sit on the front row with the president along with my friend Kevin Liles and Bob Johnson was beyond belief. Then to have the President mention our names in his opening remarks was mind-blowing. The President of the United States was within three feet of us. Being in the presence of a serving President was an honor.

Q: You expanded EMI's urban division with three key new hires. Introduce us to your up-and-coming industry leaders.

A: We felt it was time to develop more executive talent, and I feel I picked the right team. I've gone from a person who just had to worry about the job I was doing to leading a team of individuals to be the best that they can be.

Mike Jackson (Creative Director - Atlanta) was the first person hired. He's in Atlanta, a place I don't get out to as much as I used to due to my schedule. He turned me on to a couple of writers. I felt he'd be a great guy to bring on board.

With Omar Grant (Creative Director, New York), looking for someone for our New York office was a lengthy process - over four months. I interviewed some great people, but within ten minutes, I knew Omar was the guy. It was his spunk and his hunger and the fact that he was very mature. Working at a company like EMI, you need someone who can work well in a corporate structure yet still be able to go out at night and get down with all the producers, writers and artists in the studios. What he didn't already know, I knew I could teach him because he was hungry and ready.

Carlos Hudgins (Creative Associate Manager - Los Angeles) was an intern in our department. He was making no money, but was there every morning to do whatever needed to be done. Carlos turned Omar on to a writer or two, one of whom we ended up doing a deal with. He's the true case study of an intern who is willing and able to work his way from the bottom of a company to as far up as he wants to go.

Q: Who are some of the writers your team has discovered?

A: We have a producer in Atlanta named MaddScientist. He's probably going to have the second single on Nicole from the Pussycat Dolls called "Super Villain."

Another Atlanta writer is Atozzio who's got a song on Mario's new CD. He's also working with Dallas Austin's new group, Girlfriend.

We have another producer named Syience who has worked with Ne-Yo, including a song for Mary J. Blige's new album. He did the "Hollywood" song on Jay-Z's album that Beyonce' flipped and used on her re-release of B-Day.

We have Cristyle, a writer we signed with Jermaine Dupri. She has songs on Jennifer Hudson's upcoming debut. She represents the future of lyric and melody to my ears.

Omar and I just signed Solange Knowles. She's working on her own album not to mention the songs she wrote on Beyoncé and Kelly Rowland's albums.

We have two guys that call themselves The JAM. They've got songs on a slew of new releases, including Leona Lewis.

And we have a producer out of Miami that Carlos spotted named Streetrunner who's working with Lil' Wayne.

Q: How has the role of Music Publisher changed with all of the consolidation and acquisitions that have been happening?

A: We're depended upon by record labels in ways that we've never been before. Music Publishing is A&R now and is finally being recognized for what it's been doing for years - nurturing the landscape where true creativity happens. With record companies, sometimes there's too much red tape to get something done. With the right publisher, writers can just write songs and make it happen! It's been like that for years. Now we're being respected for it.

Q: How do you like working with new chairman Roger Faxon?

A: It's no secret that Marty Bandier and I were a great team. But I have to say that working with Roger has been a joy. He has given me the resources to do what I need to do for EMI to continue to win. Roger believed in me enough to want to build this staff…and he's helping me every step of the way. It's about having the trust of your leader and the trust of those you lead.

Q: What exciting can we look forward to from EMI?

A: We've got an Usher album coming (November tentatively). He sold 15 million last time and I think this time you're going to hear even more growth and maturity. With Usher, you can count on perfection.
For Kanye West's new album, we put him together with our writer DJ Toomp, whose worked with T.I., He did the next single "Good Life" as well as a song called "Can't Tell Me Nothin'." Kanye' also has a song called "Big Brother" that is probably one of the best he's ever done.

Our writer Harold Lilly worked with Alicia Keys on her new album.

Jermaine Dupri is working with Mariah Carey again on the follow-up to her comeback CD (Mimi).

One of our brightest up-and-comers is Chrisette Michele. I signed her a year-and-a-half ago. Seeing it all come together now is really a dream come true.

Q: What does your expanded role at NARAS mean to you?

A: I am a Trustee for the LA Chapter - one of the biggest honors I've ever had. In trustee meetings, we make decisions that help shape the way The Recording Academy is run. I've built some very beneficial relationships. It's power networking to the highest degree.

Q: What insight can you give us into power players Jay-Z and Jermaine Dupri?

A: They're both really good friends of mine. Jay has been with EMI his entire career. I started at EMI in '95 and signed him in '96. We were two new guys in the game that believed in each other. It's worked out great for both of us.

Jermaine is one of the most driven and competitive people I've ever met. From a songwriter perspective, he's the single person who has inspired me the most. His work ethic is unmatched.

Q: What did you think about Jay-Z's brief "retirement?"

A: It was definitely not a ploy. My opinion is that if you leave the game and no one is stepping up to claim the crown, you might as well come back. When you talk about Jay-Z, I know the artist - the best rap artist in the world - I know Shawn Carter, the amazing songwriter for himself and others, and I know Shawn Carter the person and businessman, who's setting the blueprint for all that is really possible in this business and other businesses.

Q: How do you juggle and prioritize all of the high tier talent and personalities you have under one roof at EMI?

A: It's actually really easy because I love what I do and I have personal relationships with practically all of them. When I work with these songwriters, I don't have an ego, so they don't either. You'd be surprised how calm the conversations we have are, and how fun and productive it can be. We're all trying to get to the same place.

Q: With all of the doom and gloom in the music industry about plunging sales and such, where is the record industry headed?

A: Anyone looking at the numbers can see that publishing revenues are going up. We have so many more opportunities to generate income from a song rather than just a CD (ringtones, film and commercial usage, video games, etc.). Record companies have to commit to developing stars and artists. People buy singles of songs they like. They buy the albums of stars and people they can relate to. We have to get back to building that. True A&R work is not sending an artist away telling them not to come back until they have a single. I remember the day when you signed someone because you believed in them enough to help them find those hits.

Q: What's the best thing about being Big Jon in 2007?

A: I'm still a major contributor to this business. I'm a resource for a lot of the talent. They come to me with a lot of questions and bounce ideas off of me. I cherish that position as a confidant to some of the most powerful, creative people in the world. They know I'm not going to tell them anything but the truth. They don't always agree with everything I say, but they know it's truly how I feel. When you get to the level these guys are on, they really appreciate that. A lot of people come to me for that reason alone.

Other things that have changed are I have a family now - a wife and a beautiful 4 year-old son.

Being Big Jon means staying true to who I am in a changing business. I've always wanted to be the best, but always with integrity, never at anyone else's expense.