It all started because Terry McBride couldn’t simultaneously play field hockey, study civil engineering and DJ at clubs and weddings. “So I decided to do music,” says the co-founder of Nettwerk Music Group, the 40-year-old Vancouver label famous for breaking Sarah McLachlan, Barenaked Ladies, Passenger and many others. It was the first company to release Coldplay in the United States.

In 1984, McBride and his business partner, Mark Jowett, a member of electronic-music band Moev, dropped out of the University of British Columbia and started Nettwerk with a simple mission statement: “Release music we love.” And while his field hockey background isn’t especially useful, his civil engineering tools have been crucial in Nettwerk’s development.

“The music business was obtuse and as gray and muddy as humanly possible,” says McBride, 64. “I used to run big spreadsheets that had my SoundScan and my radio [Broadcast Data Systems data] and my touring — trying to understand when something was happening early. I had my artists go back to [a particular] city over and over again and turn a flame at a micro level into something that was meaningful.”

This combination of data analysis and music-fan instinct not only helped McBride identify unusual talent with commercial potential, from Skinny Puppy to McLachlan to SYML, but correctly predict where the entire business was heading. In 2008, he co-wrote “Meet the Millennials: Fans, Brands and the Cultural Community,” a paper for the British University of Westminster, that anticipated the decline of digital downloads, the rise of streaming and the resulting revolutionary changes in the music business.

Today, McBride uses these skills, along with his team — including president/COO Simon Mortimer-Lamb, label president Ric Arboit and Jowett, who oversees international, A&R and publishing — to identify what he calls “communities.”

“It’s all about discovery and people sharing music,” McBride says. Nettwerk’s roster includes Paris Paloma, Wild Rivers, bôa, Mon Rovîa, Vacations and The Paper Kites among its 300 acts.

What was Nettwerk’s big boom?

Terry McBride: Mark and I started this company in my one-bedroom apartment in the West End of Vancouver. Back then, terrestrial radio was the dominant force, and trying to hear anything new that wasn’t being pushed or plugged just didn’t happen. We managed to cobble together enough money from both of our jobs and a small loan from the bank.

Did you know anything about how to find and sign artists in those early days?

No. I knew absolutely nothing, and Mark, who was a guitar player in a local band, knew absolutely nothing, too. Which was perfect because we weren’t bound by anyone’s point of view but our own.

What was the earliest success you had that made you think, “Maybe we’ll make it after all”?

There was a folk band called Grapes of Wrath, from British Columbia, and an industrial grunge band named Skinny Puppy. This was when we’d [previously] released all of five records. Grapes of Wrath broke on terrestrial radio, [were] picked up by Capitol Records [and] turned into something else. Skinny Puppy was so far ahead of its time — that hard-edged electronic sound that was coming out of Chicago, Miami, Belgium, leading into what [avant-garde British band] Cabaret Voltaire was doing out of London. It took a long time for those things to connect, but when it did connect, it became a movement.

How do those two acts lead to the bigger stars Nettwerk is known for, like Sarah McLachlan?

Mark had tried to sign Sarah when she was 15. She was in a band called October Game, who had supported Moev. Mark was astonished by her voice. Two years later, I’m in Halifax [Nova Scotia] with Skinny Puppy. There’s Sarah. So we had a conversation, and I talked her into coming to Vancouver and signing to Nettwerk. Sarah flew out and slept on the floor of Nettwerk for the first three to four months. She worked a part-time job at a tea shop, and we started doing the first record, Touch. Sarah went on tour with Grapes of Wrath, and by the end of the tour, one could argue that Sarah was bigger than the Grapes of Wrath.

In terms of the music business and streaming, do you go around saying, “Yeah, I predicted this”?

I wrote a paper [“Meet the Millennials”] about the future of music in winter 2008, over the Christmas holiday. I did it with [former Nettwerk GM] Brent Muhle, who was running my Los Angeles office; ultimately, he got a job at Apple in Europe and couldn’t talk about what we had written together. It left me for three or four years running around saying, “Hey, this is what’s going to happen. We can either realize that and embrace it, or we can live in this fear and this world of litigation.”

I don’t view music as lyrics, melodies, chords, bridges. I view songs as emotions, and when someone falls in love with that song, they attach their own emotion to it, so they essentially own it … The music business was trying its best to inhibit that type of behavior. You look at the explosion of the cassette tape, the burned CDs. It was all about people sharing. It wasn’t really about people ripping things off; it was about sharing their emotions. When I co-wrote “Meet the Millennials,” basically, I was writing the blueprint for the next 20 years of Nettwerk.

How so?

What I didn’t go into in that paper — which evolved out of that paper — was the thought process of “communities.” We were always involved in communities, whether it was the electronic grunge scene or Sarah and Lilith Fair [the all-­female music festival McLachlan co-created with McBride] and even that whole folk scene inside Canada. Streaming allowed the niche marketplace to actually come to life within music. Overlapping fan bases were not going to be walled in by borders or some physical restraint. You could look at niches from a worldwide point of view, not a city point of view — which was where all the scenes came from, whether it was the ’80s new wave scene out of London and New York or the ’90s grunge scene out of Seattle. We started to build the singer-­songwriter community first, and these were bands from everywhere. It didn’t matter. There were no boundaries. We slowly but surely started to build up data behind it.

How do you define “communities” in this context?

It’s basically artists that have overlapping fan bases. If you finish streaming an album, the algorithm kicks in and starts feeding you music based on what you happen to like. I just finished listening to the album [by] Haevn, a band from the Netherlands; eight of the next 10 songs were all Nettwerk songs, from their community. So Haevn is giving those other artists a lift.

So Nettwerk says, “We’ll sign all of these bands in this community.”

There’s a whole music scene that’s happening outside the traditional pop-hit culture. We’ll probably sign another 50 artists next year, and it’ll all be based on these three criteria: Do we love the music? Can we honestly add value? Are the artists and manager not a–holes? If you check those three boxes, we’re interested.

Nettwerk has a history of zigging when everybody else is zagging — in 2008, everyone thought record companies were dead and artist management was the place to be. But you got out of management.

Yeah. Now I can turn my phone off at night and I’m making money as I sleep. That didn’t happen in management. I was talking to two managers today who are in their late 20s, and I asked them how life is going. They said, “This is a horrible Monday — from the minute I woke up, I’ve been putting out fires.” I so don’t miss that.

How has the role and need for outside investors in Nettwerk changed over the years?

We sold most of the publishing seven or eight years ago. From that, we went to friends and family members and brought in a lot of people I really like who were very knowledgeable and some musicians I can’t name who are very big. About a year-and-a-half ago was the first time we brought in institutional money. We have a great balance sheet, and we’re set for the next couple of years. [In 2013, it was reported that Nettwerk had raised $10.3 million in equity growth financing from HBC Investments, previous investor Beedie Capital and Nettwerk’s four founding partners: McBride, Jowett, Arboit and Dan Fraser.]

What do you see happening during the next few years in the music business?

There are some interesting things on the horizon with [artificial intelligence]. That is not going to be determined through technology — it’s going to be determined through legislation and, unfortunately, litigation. It’s not just the music business — it’s every business.

What about the business’ future as it pertains to Nettwerk?

Communities of fans, and their emotional attachments to music, are only going to grow and become more powerful. If I would make one prediction: The middle-class musician is back. So that artist in the ’70s and ’80s who had a career without being on terrestrial radio and having platinum records is back. That’ll be healthy for the music scene. The fact that we’re looking at all these folk bands filling up 2,500-seat venues — that hasn’t happened since the ’60s.

Are you personally thinking of getting out? Retiring?

At some point, would I like to go fishing more? Spend more time with my family? Absolutely. But music’s a passion for me. I’m not looking to retire. We’re in a really good spot. I do want to see it grow. I’m not going to get in the way of that.

To me, the power of music can help people through really challenging times. When I sit down with a young artist and talk about the fact that they’re having success, [I say], “You need to consider something really, really carefully: What are you going to do with that, and how are we going to make this world a better place? Because whether you realize it or not, kids are really emotionally grabbing onto your music.”

If I look at an artist like Paris Paloma, she’s changing the world, and she’s doing it to her generation. Like Mon Rovîa, same thing. SYML, same thing. Paper Kites, same thing.

Why would I want to walk away from that? It’s just too powerful.

This story appears in the Dec. 7, 2024, issue of Billboard.

Paris Jackson is engaged to longtime boyfriend and bandmate/producer Justin Long. The singer announced the news on Friday morning (Dec. 6) on Instagram with a series of pictures of the happy couple.

“happy birthday my sweet blue. doing life with you these last years has been an indescribable whirlwind and i couldn’t dream of anyone more perfect for me to do it all with. thank you for letting me be yours. i love you,” Jackson, 26, wrote.

The accompanying photo roll chronicled their love affair through pictures of the couple smiling in the car, making out in a photo booth, posing in velvety medieval gear, taking naps and hikes and, in the golden shot, Long getting down on one knee to propose. In an accompanying Story, Jackson shared even more images of their adventures, as well additional snaps of the romantic proposal. According to E! News, the couple began dating in 2022.

The only daughter of late pop icon Michael Jackson — who released her debut album, Wilted, in 2020 — addressed her sexuality in 2018 after a fan asked if she was bisexual. “That’s what you guys call it so I guess, but who needs labels,” she said a the time in later-deleted post. “How many times have I publicly referred to the community as ‘my fellow LGBTQ+’? like even on stage,” Jackson later tweeted. “I’ve been apart [sic] of the community for years. I even mentioned having crushes on girls when I was 8 in a magazine before. I’ve been caught kissing girls in public. This is not news…”

In a later Instagram Story, Jackson reminded fans that she came out when she was 14 and has frequently referred to “my fellow LBGTQ+” community members on stage. “I’ve talked about having a crush on girls when i was 8 in my Rolling Stone article,” she added at the time. “There are pictures of me kissing girls online. why are people just now saying this is news?”

In the end she said, “and i’m not ‘bisexual,’ i just love people for people. i don’t label myself so please don’t label me.”

For 38 years, the annual Footwear News Achievement Awards (FNAA), known as the “Shoe Oscars,” have celebrated style icons, compelling brand stories, dedicated philanthropists, rising talents, and seasoned industry leaders.

On Dec. 4, 2024, in New York City, the star-studded red carpet and gala honored Kenneth Cole with the Lifetime Achievement Award, Adidas CEO Bjørn Gulden as Person of the Year, and New Balance as Company of the Year, among others.

The evening was filled with joy, appreciation and a touch of drama. Adidas CEO Bjørn Gulden stirred the crowd with a light jab at Nike while accepting the 2024 FN Achievement Award for Person of the Year.

“As I said last year when Nike was here — they’re not here this year, which is funny. It was a joke, it was a joke,” he quipped during his speech.

As the night unfolded, memorable moments like this continued to make the 2024 FNAA an event to remember. Here are the five best moments from the evening.

Rihanna’s Surprise Appearance

Rihanna attended the 2024 FNAA to support her partner, A$AP Rocky, who was honored alongside Puma as Collaborator of the Year. She graced the red carpet in a white dress paired with matching white gladiator sandals, turning heads with her effortless style.

It’s inspiring to see the couple continuously pushing each other to be the best versions of themselves. Rihanna, who previously won Shoe of the Year with Puma in 2016 for her Puma Fenty Creeper, has now passed the torch to Rocky, who is following in her stylish footsteps.

As one of entertainment’s favorite couples, Rocky and Rihanna were photographed together on the carpet, chatting about their children, their relationship, and the seamless connection between music and fashion.

Throughout the evening, Rihanna was a constant presence, cheering Rocky on from the background and allowing him to bask in his moment. She was the ultimate supportive cheerleader, ensuring he received his well-deserved flowers.

Law Roach Presents On With Brand of the Year Award

Law Roach was given the opportunity to present Trailblazing Brand On with the Brand of the Year award, bringing his signature humor to the stage. “Why is the glamorous Law Roach here — someone who has never run a marathon and doesn’t plan to — presenting an award to a sportswear brand?” he mused, drawing laughter from the crowd.

Before Roach took the stage, a promotional video played, showcasing the Swiss brand and its partnership with multi-hyphenate Zendaya, alongside other athletes wearing and running in On sneakers.

Zendaya, a Billboard Hot 100 artist, led Roach to the brand, sharing, “Zendaya, my muse, who is now their brand partner, as they have been creating inspiring campaigns that bring together community, movement and storytelling.”

Roach’s collaboration with Zendaya began in 2011, and he is now celebrated as the architect of her red carpet style. Their close connection adds to the authenticity of his role in presenting On with the prestigious award.

On, known for its innovative designs and high-performance footwear, has gained widespread appeal both in the athletic community and among fashion-forward individuals. Its ability to seamlessly blend function with style has made it a standout brand, especially in a footwear space traditionally dominated by older, more established companies.

Angel Reese Gets Honest

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One of the best moments of the night came when Chicago Sky forward and WNBA All-Star Angel Reese took the stage to accept the award for Style Influencer of the Year. While Reese is often seen at her very best, that night, she decided to be vulnerable with the room full of style stars, footwear icons, and industry veterans.

“I’m 22 years old, I’m still figuring life out, but this is just the beginning,” she shared. She went on to explain that her first-ever signature sneaker with Reebok would be coming in 2026.

Reese took a moment to thank her family and team for their unwavering support, as well as her fan army, the “Reese’s Pieces,” and Reebok for helping bring her dreams to life.

“I want to give a huge shoutout to Reebok for just believing in me and bringing my visions to life. Everything I ever wanted with them — and I am continuing with them — my dreams have already come true. They’ve given me the platform to be myself, unapologetically myself, and I really love that.”

Snoop Dogg Surprises Martha Stewart with Icon Award Presentation

Martha Stewart was honored with the Icon Award, but little did the room know, it would lead to the surprise of two icons in one moment. To everyone’s surprise, a video began playing, and it was none other than Snoop Dogg himself introducing his good buddy Martha Stewart as the recipient of the 2024 Icon Award.

“My friend Martha Stewart is the ultimate boss,” Snoop began, sitting comfortably in his The Voice chair. “She’s an amazing footwear ambassador for the brand, expanding it for women along with her empire.” He continued, “Now it’s my honor to present my friend, the one and only, the diva, Martha Stewart with the Footwear News Icon Award.”

Martha took the stage and shared a story about asking Siri what an icon was. Siri responded, “A small on-screen picture that represents an app, a file, or a folder, on a computer or other device,” she read aloud. Martha jokingly expressed confusion about the kind of award she was receiving, bringing laughter to the crowd. Her speech was wholesome and funny, and the audience loved every moment of it.

A$AP Rocky Accepting Collaboration of the Year

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A$AP Rocky is truly one of a kind. Only he could “talk a lot of s—t” while still giving everyone who deserves it their flowers.

“Yo, this is nuts,” he began. “Initially, I just wanted to come up here and talk a lot of s—t about how lit, how handsome I am, how we’re the best, but honestly, I’m very humbled by this whole experience. I would rather just speak from the heart and be genuine.”

We knew it was going to be a great night when Emory Jones, Head of Lifestyle at Roc Nation and co-founder of the Paper Planes apparel brand, introduced him.

Pretty Flacko’s speech was heartfelt, and he described the honor as “one of the best accomplishments ever.” He then shouted out his lady, Rihanna, who was also honored by FN in 2016. “I was inspired, I saw my lady receive this thing almost a decade ago.” This was definitely a full-circle moment for the couple.

A federal appeals court panel on Friday upheld a law that could lead to a ban on TikTok in a few short months, handing a resounding defeat to the popular social media platform as it fights for its survival in the U.S.

The U.S. Court of Appeals for the District of Columbia Circuit ruled that the law, which requires TikTok to break ties with its China-based parent company ByteDance or be banned by mid-January, is constitutional, rebuffing TikTok’s challenge that the statute ran afoul of the First Amendment and unfairly targeted the platform.

“The First Amendment exists to protect free speech in the United States,” said the court’s opinion. “Here the Government acted solely to protect that freedom from a foreign adversary nation and to limit that adversary’s ability to gather data on people in the United States.”

TikTok and ByteDance — another plaintiff in the lawsuit — are expected to appeal to the Supreme Court. Meanwhile, President-elect Donald Trump, who tried to ban TikTok during his first term and whose Justice Department would have to enforce the law, said during the presidential campaign that he is now against a TikTok ban and would work to “save” the social media platform.

The law, signed by President Joe Biden in April, culminated a years-long saga in Washington over the short-form video-sharing app, which the government sees as a national security threat due to its connections to China.

The U.S. has said it’s concerned about TikTok collecting vast swaths of user data, including sensitive information on viewing habits, that could fall into the hands of the Chinese government through coercion. Officials have also warned the proprietary algorithm that fuels what users see on the app is vulnerable to manipulation by Chinese authorities, who can use it to shape content on the platform in a way that’s difficult to detect.

However, a significant portion of the government’s information in the case has been redacted and hidden from the public as well as the two companies.

TikTok, which sued the government over the law in May, has long denied it could be used by Beijing to spy on or manipulate Americans. Its attorneys have accurately pointed out that the U.S. hasn’t provided evidence to show that the company handed over user data to the Chinese government, or manipulated content for Beijing’s benefit in the U.S. They have also argued the law is predicated on future risks, which the Department of Justice has emphasized pointing in part to unspecified action it claims the two companies have taken in the past due to demands from the Chinese government.

Friday’s ruling came after the appeals court panel heard oral arguments in September.

Some legal experts said at the time that it was challenging to read the tea leaves on how the judges would rule.

In a court hearing that lasted more than two hours, the panel – composed of two Republican and one Democrat appointed judges – appeared to grapple with how TikTok’s foreign ownership affects its rights under the Constitution and how far the government could go to curtail potential influence from abroad on a foreign-owned platform.

The judges pressed Daniel Tenny, a Department of Justice attorney, on the implications the case could have on the First Amendment. But they also expressed some skepticism at TikTok’s arguments, challenging the company’s attorney – Andrew Pincus – on whether any First Amendment rights preclude the government from curtailing a powerful company subject to the laws and influence of a foreign adversary.

In parts of their questions about TikTok’s ownership, the judges cited wartime precedent that allows the U.S. to restrict foreign ownership of broadcast licenses and asked if the arguments presented by TikTok would apply if the U.S. was engaged in war.

To assuage concerns about the company’s owners, TikTok says it has invested more than $2 billion to bolster protections around U.S. user data.

The company also argues the government’s broader concerns could have been resolved in a draft agreement it provided the Biden administration more than two years ago during talks between the two sides. It has blamed the government for walking away from further negotiations on the agreement, which the Justice Department argues is insufficient.

Attorneys for the two companies have claimed it’s impossible to divest the platform commercially and technologically. They also say any sale of TikTok without the coveted algorithm – the platform’s secret sauce that Chinese authorities would likely block under any divesture plan – would turn the U.S. version of TikTok into an island disconnected from other global content.

Still, some investors, including Trump’s former Treasury Secretary Steven Mnuchin and billionaire Frank McCourt, have expressed interest in purchasing the platform. Both men said earlier this year that they were launching a consortium to purchase TikTok’s U.S. business.

This week, a spokesperson for McCourt’s Project Liberty initiative, which aims to protect online privacy, said unnamed participants in their bid have made informal commitments of more than $20 billion in capital.

TikTok’s lawsuit was consolidated with a second legal challenge brought by several content creators — for which the company is covering legal costs — as well as a third one filed on behalf of conservative creators who work with a nonprofit called BASED Politics Inc.

If TikTok appeals and the courts continue to uphold the law, it would fall on Trump’s Justice Department to enforce it and punish any potential violations with fines. The penalties would apply to app stores that would be prohibited from offering TikTok, and internet hosting services that would be barred from supporting it.