John Kellogg is assistant chair of the Music Business/Management Department at Berklee College of Music and an entertainment attorney. Licensed to practice in New York and Ohio, he has represented recording artists such as LeVert, the O'Jays, Eddie Levert, LSG, Stat Quo, and G. Dep. He also serves as a member of the management team for the late R&B recording star Gerald Levert, whom he represented throughout his career.
Kellogg is president-elect and a member of the board of directors of the Music and Entertainment Industry Educators Association (MEIEA), and is a former board member (and Hall of Fame inductee) of the Black Entertainment and Sports Lawyers Association (BESLA). He is the author of Take Care of Your Music Business: The Legal and Business Aspects You Need to Know to Grow In the Music Business, as well as numerous legal articles and editorials. A former vocalist with the group Cameo, Kellogg has been profiled in Billboard Magazine, Ebony, Black Issues, and In the Black.
Kellogg holds a Juris Doctor degree from Case Western Reserve University, where he also attended the Weatherhead School of Management. In addition, he holds a Master of Science degree in Television and Radio and a Bachelor of Arts degree in Political Science—both from Syracuse University.
- Career Highlights
- Entertainment attorney in New York and Ohio
- Represented recording artists such as the late Gerald Levert, the O’Jays, LSG, Eddie Levert, LeVert, G. Dep, and Stat Quo
- Member of the board of directors of the Music and Entertainment Industry Educators Association (MEIEA)
- Author of the book Take Care of Your Music Business: The Legal and Business Aspects You Need to Know to Grow in the Music Business
- Has been profiled in Billboard Magazine, Ebony, Black Issues, and In the Black
- Recorded as a vocalist with Cameo on Cardiac Arrest
- B.A., Syracuse University
- M.S., Syracuse University
- J.D., Case Western Reserve University
In Their Own Words
"Berklee's a perfect combination. You have excellent musicians here, and you have excellent music business minds. I think that the ultimate thing to look forward to is that at some point, as these people become professionals on both ends, that those things merge, business professionals can help the musicians and musicians know something about the business."
"The reason why I think music business/management programs are growing all across the country is because I think that young people get it. They recognize that this business is changing and they have the potential to empower themselves and take it over. They know that they can actually have some form of ownership in the growth, in the development of, the new music industry. They understand music, but they don't want to get ripped off, and they don't have to deal with those music companies. They think, I can do something else on my own, and I need to know how to protect myself within that whole framework of the new music business."
"I want students to have a good background of the music industry over the past 30 or 40 years, when it grew into something that made it what it is today. It's important for them to not only look to the future, but to learn from the past. Although the music industry didn't get it about the internet initially, there were some great things that people in the industry did that you need to learn."
"I'm still involved in the practice of entertainment law, although on a limited basis. What I'm primarily doing is getting involved in more organizations that have input and hopefully will have influence on the changes that are being made in the music business. I'm involved in research, as well, writing articles that will hopefully influence the drastic changes that will continue to happen over the next few years. I participate in NARAS's entertainment law initiative every year. I'm on the board of the Music and Entertainment Industry Educators Association. I have affiliations with ASCAP, BMI, and CSAC, and I'm hoping to expand in educational roles with things that they do."