- Career Highlights
- B.S., Vocal Performance, University of Colorado at Denver
- M.M., Music Industry, University of Miami
- Worked for Chris Blackwell and Gloria Estefan
- Recordings as a songwriter include “His Song” (Summit Records); as lead vocalist, “More and More” and “Love’s Ocean” (MonoMyth Media)
- Editor of Pop Music Theory (MonoMyth Media)
- A&R project manager for 45 commercial record productions with major and independent labels, including work for Elton John, Parliament-Funkadelic, the Gap Band, the Bar-Kays, Rick James, Sly and Robbie, Jack Kerouac, Kelly Joe Phelps, Fleetwood Mac, and MGM soundtracks
- Started the production company MonoMyth Media in 2008
- Developed a new record label model at Blackroom Records (2001) that emphasizes partnership between label and artist sharing fifty percent (50%) of the record proceeds
- Developed curriculum through StrengthFinders that evaluates student’s personal strengths to facilitate self awareness of natural talents
- Member of ASCAP
In Their Own Words
"The cultural mix here is so exciting. I love the fact that I have students from all over the world. Their unique experiences add to the classroom. The way they perceive how business operates in their country—they bring that insight into our classes and that just expands the conversation."
"We have a huge population of Hispanic students, and I think having that sort understanding is important, because the Latin music industry is a completely different animal than the mainstream American market. When I worked with Gloria Estefan we had to deal with a lot of visas and getting wonderful performers from South America. There are a lot of other things that you wouldn't normally think about, like passports and international exchange rates and work visas."
"I have an undergrad degree in vocal performance, and I actually started in music business because I wanted to make sure that I understood my own contracts. I think that helps me the most, because we have a lot of dual majors. I can be empathetic with them and tell them today's business is really about being an entrepreneur. As a performer, you've got to take care of yourself, you've got to understand business. As much as they might not want to focus on accounting or law, at least I'm giving them a scope of the entire industry, so they can pick a good business manager. I think every student should take at least an intro to music business course. If you're an informed performer, think of how much further you can go."
Watch Ani Johnson discuss her experiential approach to teaching and learning here: