We recently connected with Wendy Day and have shared our conversation below.

Wendy, thanks for taking the time to share your stories with us today Let’s start with a story that highlights an important way in which your brand diverges from the industry standard.

What sets us apart in the music industry is our strategic, fan-centered approach. Instead of following the traditional route of releasing albums or EPs prematurely—before there’s a real demand for a full body of work—we focus on building that demand while supplying consistent, high-quality music every other week, consistently.

We start by testing the artist’s music directly with fans, gaining invaluable insights into what resonates. This helps us make data-driven decisions about which songs to release and ensures that every release connects with the audience. We prioritize consistency, with new songs typically dropping every two weeks. This steady flow keeps the artist top-of-mind for fans and helps cut through the noise of an oversaturated marketplace. Consistency is what builds careers as the fans begin to look for new music when they get used to the release cycle.

Another key difference is our emphasis on content creation for social media. We treat content as the lifeblood of an artist’s brand, crafting engaging posts, videos, and campaigns that amplify each release. Every song is marketed and promoted with intention, ensuring it gets the visibility it deserves.

Ultimately, our approach blends the art of music with the science of strategy. By focusing on consistent releases, audience feedback, and robust marketing, we position our artists for long-term success, not just short-lived hype.

Wendy, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I am an entrepreneur, consultant, author, and builder of artists’ careers with 33 years of experience in the music industry. As Founder of the not-for-profit advocacy organization Rap Coalition, I’ve helped pull countless hip-hop artists and producers out of unfair deals while educating artists on the music industry.

I also run the for-profit music consulting company PowerMoves, music incubator Artist-Centric, music education platform Musicable.io and am the author of the book How to Get a Record Deal: The Knowledge to Succeed (2011), which was updated and re-published in March 2016 with audiobook narration from legendary rapper, Slick Rick.

In my spare time (lol), I am the cohost of a popular podcast called The Cheat Code that gives quick bursts of industry how-to information to artists. I just started two other podcasts: No Stopping Zone interviews industry movers and shakers about what makes them successful and how they balance their lives between work and play, and my newest podcast Words Without Music, which interviews successful, independent artists sharing, actionable insights that other artists can apply to their own careers. You’re probably seeing a pattern by now. I’m very focused on empowerment for artists.

I started my career by founding Rap Coalition in 1992. Fortunately, it became a valuable resource for hip-hop artists by making them aware of exploitative practices, allowing them to connect with fellow artists with similar needs, educating artists via monthly panel discussions at ASCAP’s New York City office, and providing a support network to help them navigate the industry. It also has an all-star roster of advisors and mentors ranging from the late Tupac Shakur to Chuck D of Public Enemy.

Throughout the 1990s, I built a reputation for brokering landmark deals in hip-hop: Master P and No Limit Records’ 85/15 distribution deal with Priority Records, Twista’s 50/50 joint venture with Atlantic Records, and Cash Money Records’ $30 million 80/20 deal with Universal Music Group. That is the deal that I’m most proud of because they kept ownership of their masters and all of their publishing. That was in 1998 and it was pretty unheard of back then.

I also was instrumental in securing Eminem’s first contract with Aftermath/Interscope, having organized and invited him to perform at the 1997 Rap Olympics where he was discovered; David Banner’s multi-million dollar deal with Universal Records; and a few other leveraged deals. In addition, I have played a role in the careers of Lil Wayne, B.G., Juvenile, Hot Boys, C-Murder, Fiend, Do or Die, Boosie, Webbie, Lil Donald, Ras Kass, Trouble, Young Buck, ATL Jacob, The Girll Codee, Flawless, and many others. My clients have collectively sold over 1 billion sound recordings.

In 1995, I founded the for-profit music consulting company PowerMoves, which helps artists and independent record labels start and manage independent companies with the goal to maximize the money artists make from their music by allowing them to seek investors rather than label deals. My latest venture, Artist-Centric, is a music incubator built to empower musicians, allowing them to maintain possession of their masters and publishing while giving them the tools to take control of their careers and make money with their music. The concept behind the company is to pair artists with the proper funding and the know-how to succeed, allowing investors to reap benefits while the artists earn more in the long run.

In March of 2025, I am launching a new music business education website, which will supply current, practical advice that artists can directly apply to their careers to help them get to the next level cost-effectively, efficiently, and realistically. Information and self-study opportunities will be available on a monthly basis.

I have a Bachelor‘s degree in Graphic Design from Moore College of Art and Design, an MBA in Marketing from McGill University, and a Master’s degree in African American Studies from Temple University. An in-demand expert on music industry issues, I’ve spoken at prominent music industry conferences such as SXSW, Music Biz, CD Baby’s DIY Musician Conference, the A3C Conference, and the Coast 2 Coast Music Conference, as well as top universities including Harvard University, Duke University, New York University, University of Wisconsin–Madison, University of South Carolina School of Law, Temple University, Berklee College of Music, Clark Atlanta University, plus many more. I have been featured in major publications such as The New York Times, Billboard, Rolling Stone, NPR, VICE, Music Business Worldwide, XXL, Vibe, The Source, HipHopDX, AllHipHop, and more. In addition, I’ve appeared on major TV networks such as ABC, CBS, NBC, and FOX.

I currently reside in Atlanta with my five-pound chihuahua, Gangster. I’m an accomplished kiln-formed glass artist and an avid reader/knowledge-seeker, reading at least one non-fiction business book each week. I’m a huge proponent of mental health, self-introspection, and growth. I’m a real estate investor, most recently building co-working spaces in Atlanta. I also love to travel, particularly to the ocean and Paris.

And lastly, no matter how long I live on this earth, I will never get comfortable with explaining what I do, talking about my success, or rambling on about accomplishments. It’s all very silly to me. I just do what I do and have a really great time doing it. I realize I have the coolest job in the world and I’m so incredibly thankful for that.

How about pivoting – can you share the story of a time you’ve had to pivot?

Just one pivot? Gosh, I am constantly pivoting in this business. The music business changes constantly. The way we market and promote music changes almost every nine months. The popularity of different sounds of music changes every few years. New artists come and go quickly and it’s getting harder and harder to build superstars because the fans are so fractured— meaning reaching them en masse is getting harder and more expensive every day.

One of my biggest pivots is happening right now as I type this. I thought when the Internet grew in popularity that it would make information more available to everyone. Well, it has, but a proliferation of incorrect information has become more available than accurate information. And in an industry like the music business, where a large amount of people try to scam artists, this is problematic.

I have recently invested in building master classes, and educational resources for artists and people who want to work behind the scenes in the music industry. I am counting on the fact that 33 years of educating artists has built a trustworthy reputation and a place where they can come to learn as much as they can about how the Music business works. It has been a bit challenging for me because I’d rather show artists hands-on how to be successful building their careers and how to make money with their music. But one by one has proven too slow for me. So I’m pivoting into spending my time educating multiple artists at once, in ways that they will enjoy learning. Artists notoriously have not enjoyed school. I have my work cut out for me.

Is there a particular goal or mission driving your creative journey?

I think if there was one word that summed up everything that I believe in, it would be empowerment. I have seen so many artists get unfairly exploited in the music industry, and it doesn’t sit well with me.

33 years ago, I was willing to put my money and my energy where my mouth is, and nothing has changed all these years later. Educating artists, negotiating fair and ownership deals for them, and showing them hands-on how to make money with their music has been my driving force. What keeps me going is my belief that the artists should be the first to get paid, not the last, and that the music matters more than the investment. This is an industry that places money above the art form, and I don’t accept that. I can’t accept that! No one should.

Contact Info:

• Website: https://www.WendyDay.com
• Instagram: https://www.Instagram.com/RapCoalition
• Linkedin: https://www.linkedin.com/in/wendyday
• Twitter: @RapCoalition
• Youtube: https://www.Youtube.com/ThisIsWendyDay
• Other: HelpfulAngel.com
  Musicable.io