{"id":252010,"date":"2026-02-27T23:00:47","date_gmt":"2026-02-27T23:00:47","guid":{"rendered":"https:\/\/www.musicbusinessworldwide.com\/?p=252010"},"modified":"2026-02-28T10:48:03","modified_gmt":"2026-02-28T10:48:03","slug":"how-jeff-waye-and-patrick-curley-built-third-side-music-into-an-indie-publishing-powerhouse-with-usd-25m-in-annual-revenues","status":"publish","type":"post","link":"https:\/\/www.musicbusinessworldwide.com\/how-jeff-waye-and-patrick-curley-built-third-side-music-into-an-indie-publishing-powerhouse-with-usd-25m-in-annual-revenues\/","title":{"rendered":"How Jeff Waye and Patrick Curley built Third Side Music into an indie publishing powerhouse with USD $25M in annual revenues"},"content":{"rendered":"<p class=\"p1\"><b>Trailblazers is an MBW interview series that turns the spotlight on music entrepreneurs with the potential to become the global business power players of tomorrow. <\/b>In this feature, we speak to Jeff Waye, Co-Founder and COO, and Patrick Curley, Co-Founder, President and CEO, of global independent music publisher Third Side Music.<b>\u00a0Trailblazers is supported by\u00a0<\/b><a target=\"_blank\" href=\"https:\/\/www.tunecore.com\/\"><b>TuneCore<\/b><\/a><b>.<\/b><\/p>\n<hr \/>\n<p><strong>Third Side Music<\/strong> started life <span style=\"margin: 0px; padding: 0px;\">in Montreal in 2005<\/span> with a <strong>$150,000<\/strong> investment by two music industry veterans. Now, it&#8217;s an independent publishing powerhouse.<\/p>\n<p><span style=\"margin: 0px; padding: 0px;\">The company, founded by <strong>Jeff Waye<\/strong>\u00a0and\u00a0<strong>Patrick Curley<\/strong>, tells MBW that it&#8217;s averaged 15-20% year-over-year growth and generated over <strong>USD $25 million<\/strong> in annual revenues in 2025, all without ever taking a cent of outside capital.<\/span><\/p>\n<p>Waye started his career in record distribution and retail before spending a decade running Ninja Tune&#8217;s operations in North America.<\/p>\n<p>Curley, meanwhile, came from the indie rock world, eventually becoming an entertainment lawyer and founding Plateau, one of the first agencies to offer sync as a dedicated service.<\/p>\n<p><span style=\"font-weight: 400;\">Today, their company&#8217;s track record speaks for itself: &#8220;Over 95% of our deals have been fully recouped, and we\u2019ve had 99% client retention across our active roster,&#8221; says Waye of Third Side Music.<\/span><\/p>\n<blockquote><p><strong>&#8220;Our passion is music not market share.&#8221;<\/strong><\/p>\n<p><span style=\"color: #000000;\"><strong>Jeff Waye, Third Side Music<\/strong><\/span><\/p><\/blockquote>\n<p>TSM&#8217;s 75,000-plus title catalog spans a roster that includes SOFI TUKKER, Sky Ferreira, BadBadNotGood, Courtney Barnett, Future Islands, Kurt Vile, Waxahatchee, and Colin Stetson, alongside iconic legacy catalogs such as The Clyde Otis Music Group, Studio One, Galt MacDermot, and Alan Watts.<\/p>\n      <div class=\"mb-advert__incontent\">      <div class=\"mb-advert mb-advert__tweeny hidden-xs hidden-ms hidden-sm\" data-loaded=\"no\" data-sizes=\"992 1200 1440\" data-name=\"628x90 Sponsor banner #8 (992+1200+1440)\" data-params=\"dfp_sponsor8_628\" id=\"dfp_sponsor8_628\"><\/div>      <div class=\"mb-advert mb-advert__banner mb-advert__banner--inline hidden-xs hidden-sm hidden-md hidden-lg\" data-loaded=\"no\" data-sizes=\"480\" data-name=\"468x60 Sponsor banner #8 (480)\" data-params=\"dfp_sponsor8_468\" id=\"dfp_sponsor8_468\"><\/div>      <div class=\"mb-advert mb-advert__mobile mb-advert__mobile--inline hidden-ms hidden-md hidden-lg\" data-loaded=\"no\" data-sizes=\"320 768\" data-name=\"300x50 Sponsor banner #8 (320+768)\" data-params=\"dfp_sponsor8_300\" id=\"dfp_sponsor8_300\"><\/div>      <\/div>      \n<p class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\">The company&#8217;s sync division \u2013 with dedicated teams in Los Angeles, New York, London, Montreal, and Mexico City \u2013 has been the engine of much of its success, landing music in everything from <em>The Bear<\/em> and <em>The White Lotus<\/em> to brand campaigns for Apple, Dior, and Herm\u00e8s.<\/p>\n<p class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\">The power of TSM&#8217;s sync operation was on full display in late 2025, when client Wolf Parade&#8217;s 2005 track <em>I&#8217;ll Believe in Anything<\/em> was placed in the TV series <em>Heated Rivalry<\/em>.<\/p>\n<hr \/>\n<div class=\"mb-embed-container\"><iframe src=\"https:\/\/www.youtube.com\/embed\/7G1eLTV89dM?si=4k1HSbe3FumqhLYH\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<hr \/>\n<p class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\">The song nearly doubled its lifetime Spotify streams \u2013 from <strong>21<\/strong> <strong>million<\/strong> to over <strong>40<\/strong> <strong>million<\/strong> \u2013 in just two months. Wolf Parade&#8217;s monthly Spotify listeners, meanwhile, surged from <strong>196,000<\/strong> to over <strong>2 million.<\/strong><\/p>\n<p class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\">&#8220;In my 35+ years in music, I&#8217;ve never seen a sync have this kind of impact \u2014 both statistically and culturally,&#8221; says Waye.<\/p>\n      <div class=\"mb-advert__incontent\">      <div class=\"mb-advert mb-advert__spu\" data-loaded=\"no\" data-name=\"300x250 Sponsor MPU #8\" data-params=\"dfp_spu8\" id=\"dfp_spu8\"><\/div>      <\/div>      \n<p>Curley tells MBW that TSM experienced &#8220;record growth&#8221; in 2025, including its best-ever year for sync, and says the company is building on that momentum in 2026.<\/p>\n<p>&#8220;TSM is expanding ways we can partner with artists, including new admin deals, joint ventures, and partial catalog purchases \u2014 while staying disciplined about the kinds of deals we do,&#8221; he says.<\/p>\n<p class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\">In an industry increasingly shaped by consolidation, Waye and Curley&#8217;s insistence on full independence has become central to their pitch to artists.<\/p>\n<p class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\">&#8220;Companies have offered to buy us,&#8221; says Waye. &#8220;But I suspect often their interest is mostly in burying a competitor. The minute you have to prioritize investors over artists, it will never benefit the artists, and I\u2019m not interested in that.&#8221;<\/p>\n<p class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\">Here, Waye and Curley discuss TSM&#8217;s two-decade journey, the state of independent publishing, and why they&#8217;ve never been tempted to sell&#8230;<\/p>\n<hr \/>\n<h6>YOU BOTH CAME FROM DIFFERENT BACKGROUNDS IN THE BUSINESS \u2014 HOW DID THOSE EXPERIENCES INFORM YOUR VISION FOR THE COMPANY?<\/h6>\n<p><strong>Jeff Waye:<\/strong> In the early 2000s, record sales were taking a dive, people were buying the odd track on Apple, streaming hadn\u2019t really come in yet, and it was getting increasingly hard to make a record label work. But at the same time we\u2019d land a six figure sync, and I\u2019d increasingly wonder why we were sending so much mechanical income to passive publishers.<\/p>\n<p>So it led me to think about creating a new kind of artist-focused publishing company that would be an equitable destination, treating them as partners and not commodities, and actually bringing services to the table.<\/p>\n<p><strong>Patrick Curley:<\/strong> Since Plateau had been specializing in B2B marketing to music supervisors and production companies, I saw firsthand how powerful it could be when it was done right. So we merged this, and modeled TSM after the indie labels we loved, focusing on creative and sync, administration, proper registrations, paying accurately, and building long-term partnerships instead of locking people into lopsided deals.<\/p>\n<hr \/>\n<h6>COULD YOU DESCRIBE THE STATE OF THE PUBLISHING BUSINESS WHEN YOU LAUNCHED COMPARED TO TODAY, AND WHAT HAVE BEEN SOME OF THE BIGGEST CHANGES YOU\u2019VE WITNESSED?<\/h6>\n<p><strong>PC:<\/strong> When we started, sync was relatively under-serviced by a lot of the major publishers, and many artists looked at sync as selling out. Today it\u2019s central to how they build their careers, and publishers have since added full-service sync operations that didn\u2019t exist in the same way as when we started twenty years ago. As publishing revenues have grown substantially, so has the appetite for catalog acquisitions, and valuations have changed accordingly.<\/p>\n<blockquote><p>&#8220;WHEN WE STARTED, SYNC WAS RELATIVELY UNDER-SERVICED BY A LOT OF THE MAJOR PUBLISHERS, AND MANY ARTISTS LOOKED AT SYNC AS SELLING OUT.&#8221;<\/p>\n<p><span style=\"color: #000000;\">PATRICK CURLEY<\/span><\/p><\/blockquote>\n<p><strong>JW:<\/strong>\u00a0Back then, you\u2019d pitch more seasonally to a few networks and advertising agencies, and generally the business wasn\u2019t as global as it is today. But as things shifted to streaming, the demand exploded. Not to mention the rise of video games and other media. Today we\u2019re pitching on hundreds of projects a week. Over the last two decades, the quality of content became way broader, and music needs more global. Syncs can also catapult a career. That really changed the perception of many who had previously viewed sync as a sellout.<\/p>\n<hr \/>\n<h6>YOU\u2019RE CELEBRATING YOUR 20TH ANNIVERSARY WITH up to 20% YOY GROWTH AND $25M ANNUAL REVENUE. WHAT\u2019S DRIVING THIS REVENUE GROWTH?<\/h6>\n<p><strong>PC: <\/strong>Jeff and I launched TSM with $150,000 of our own money and have averaged up to 15-20% growth every year by sticking to a basic philosophy: pay accurately and regularly, offer very fair deals, and win people over through services and results rather than hype. We focus on building catalogs that have depth, not just a couple of headline hits, and staying genuinely independent so we can make decisions with a long-term view.<\/p>\n<blockquote><p>&#8220;Jeff and I launched TSM with $150,000 of our own money and have averaged up to 15-20% growth every year by sticking to a basic philosophy: pay accurately and regularly, offer very fair deals, and win people over through services and results rather than hype.&#8221;<\/p>\n<p><span style=\"color: #000000;\">Patrick Curley<\/span><\/p><\/blockquote>\n<p><strong>JW:<\/strong> Our model has proven to work in practice. Over 95% of our deals have been fully recouped, and we\u2019ve had 99% client retention across our active roster. Many of our clients are on their fourth or fifth contract cycle, which means two things: we\u2019re picking the right partners, and delivering enough value that they choose to stay. They also recognize we\u2019re in it for the long haul and not looking to flip their copyrights to someone else. Our passion is music not market-share.<\/p>\n<p><strong>PC<\/strong>: On top of that, we\u2019ve deliberately invested in building a worldwide copyright admin platform, which means collections expertise, fixing registrations and doing the heavy lifting on complex, often non-Western catalogs.<\/p>\n<p>We also ensure music supervisors can license music easily. This approach has turned a lot of under-exploited repertoire into steady, recurring income. When you combined that with a high-retention of the roster, and staff that has been with us 10\u201318 years, and you get compounding growth, not just incremental. Our current head of royalties, Monica Castilla, was TSM\u2019s first employee back in 2007!<\/p>\n<hr \/>\n<h6>TSM IS STILL FULLY INDEPENDENT AFTER 20 YEARS. WHAT DOES INDEPENDENCE MEAN TO YOU, HAVE YOU HAD BUY-OUT OFFERS, AND HOW HAS STAYING INDEPENDENT SHAPED YOUR DECISION-MAKING?<\/h6>\n<p><strong>JW:<\/strong> With no third-party investors, parent company, or corporate oversight, TSM is not beholden to anyone but our artists, songwriters, and their teams. This lets us take a long-term approach, and back music we believe in.<\/p>\n<hr \/>\n<h6>YOU\u2019VE BECOME A PROMINENT PLAYER IN THE SYNC SPACE WITH OVER 17,000 PLACEMENTS. HOW HAS YOUR SYNC STRATEGY EVOLVED, AND WHAT DIFFERENTIATES TSM\u2019S APPROACH?<\/h6>\n<p><strong>PC:<\/strong>\u00a0We started as a sync-focused company before it was an industry norm, and built our foundation around doing that extremely well\u2014pitching, clearances, relationships, and making sure every artist has approval over what is licensed.<\/p>\n<p>Our approach hasn\u2019t changed. But as the market for syncs exploded, TSM\u2019s sync reputation and global reach has grown. TSM has dedicated teams in Los Angeles, New York, London, Montreal, and Mexico City, and we invest heavily in catalog research and rights-clearance especially for non-Western repertoire so that supervisors don\u2019t get hit with claims later. That\u2019s why we can place nine tracks from one catalog in a single season of a show like The White Lotus and not have any issues.<\/p>\n<blockquote><p>&#8220;We started as a sync-focused company before it was an industry norm, and built our foundation around doing that extremely well\u2014pitching, clearances, relationships, and making sure every artist has approval over what is licensed.&#8221;<\/p>\n<p><span style=\"color: #000000;\">Patrick Curley<\/span><\/p><\/blockquote>\n<p><strong>JW:<\/strong> If I do say so\u2026 we have hands down the best sync team and sync strategy. But, not here to share our special sauce except to say, it\u2019s nothing without the A&amp;R team bringing in constantly exciting and relevant new music partners, and a sync team that makes it their job to make clients\u2019 lives easy and not waste anyone\u2019s time. Also, we don\u2019t sit back and wait for the phone to ring. We are insanely proactive, know each catalog inside out, and make it easy and safe for supervisors to use our music.<\/p>\n<hr \/>\n<h6><figure class=\"mbw-articlepic mbw-articlepic--right\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2026\/02\/Screenshot-2026-02-28-at-09.08.22.jpg\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2026\/02\/Screenshot-2026-02-28-at-09.08.22.jpg\" data-lightbox=\"image-set\" data-title=\"\"><img  class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2026\/02\/Screenshot-2026-02-28-at-09.08.22-80x63.jpg\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2026\/02\/Screenshot-2026-02-28-at-09.08.22-80x63.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2026\/02\/Screenshot-2026-02-28-at-09.08.22-160x125.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2026\/02\/Screenshot-2026-02-28-at-09.08.22-320x250.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2026\/02\/Screenshot-2026-02-28-at-09.08.22-418x327.jpg 418w, https:\/\/www.musicbusinessworldwide.com\/files\/2026\/02\/Screenshot-2026-02-28-at-09.08.22-648x507.jpg 648w, https:\/\/www.musicbusinessworldwide.com\/files\/2026\/02\/Screenshot-2026-02-28-at-09.08.22-836x654.jpg 836w\" data-sizes=\"auto\"><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><\/figure>YOUR ROSTER SPANS LEGACY CATALOGS LIKE STUDIO ONE, THE CLYDE OTIS MUSIC GROUP, GALT MACDERMOT, JOE DARION, AND SOUNDWAY, TO CONTEMPORARY ARTISTS LIKE SOFI TUKKER. HOW DO YOU BALANCE DEVELOPING NEW TALENT VERSUS ACQUIRING ESTABLISHED CATALOGS?<\/h6>\n<p><strong>PC:<\/strong> At a basic level, we\u2019re all music nerds and record collectors. So we tend to gravitate towards great art irrespective of whether it\u2019s new or old.\u00a0 The beauty of being a music publisher is that you\u2019re not public facing, so there\u2019s no need to stick to a particular sound or style.\u00a0 Very deliberately, we try to get world class quality music in all genres, styles, and eras.<\/p>\n<p>In the case of SOFI TUKKER (pictured inset), TSM has helped to land them over 450 syncs to date, which have absolutely played a unique role in developing their successful career. For a lot of our writers, sync isn\u2019t just ancillary income, it\u2019s integral to how they reach fans.<\/p>\n<blockquote><p>&#8220;We\u2019re not out there trying to buy a $50 million catalog to flip it. We\u2019re interested in carefully chosen catalogs where TSM can add real value.&#8221;<\/p>\n<p><span style=\"color: #000000;\">Jeff Waye<\/span><\/p><\/blockquote>\n<p><strong>JW:<\/strong> We\u2019re not out there trying to buy a $50 million catalog to flip it. We\u2019re interested in carefully chosen catalogs where TSM can add real value \u2014especially non-Western catalogs, where rights are sometimes messy, as historically there weren\u2019t rights management structures in place when the music was created.<\/p>\n<p>Our copyright team led by Melanie Santa Rosa excels at the heavy lifting &#8212; tracking down heirs, doing due diligence, fixing splits, and making sure the right people get paid. That lets us hang an \u201copen for business\u201d sign on deep Nigerian, Ghanaian, Thai, and Jamaican catalogs, and bring them safely into modern sync and streaming.<\/p>\n<p>At the same time, we sign and develop new artists that we\u2019re genuine fans of. We want the best of the best in every genre possible, so we never leave an opportunity on the table. But, not so much of one thing where we\u2019re then competing against ourselves and the artist we made commitments to.<\/p>\n<hr \/>\n<h6>WHAT M&amp;A OPPORTUNITIES ARE YOU SEEING IN THE MARKET?<\/h6>\n<p><strong>PC:<\/strong> The most interesting opportunities for us are less about big headline acquisitions and more about targeted catalog partnerships. With so many reversions happening, there are a lot of writers and estates getting rights back after long periods.<\/p>\n<blockquote><p>&#8220;We\u2019re also seeing a gap in financing for artists with mid-size catalogs that are off the radars.&#8221;<\/p>\n<p><span style=\"color: #000000;\">Jeff Waye<\/span><\/p><\/blockquote>\n<p><strong>JW:<\/strong> We\u2019re also seeing a gap in financing for artists with mid-size catalogs that are off the radars. So we have been positioning ourselves to offer partial catalog purchases and joint ventures on an as-needed basis. However, we will only do these deals if they are genuinely mutually beneficial and tied to our long-term work growing the income of a catalog.<\/p>\n<hr \/>\n<h6>WHAT OTHER TRENDS ARE YOU SEEING IN THE MARKET THAT WE SHOULD KNOW ABOUT?<\/h6>\n<p><strong>JW:<\/strong> First and foremost is the industry obsession with treating music catalogs as financial assets. We\u2019d rather just talk about music as music and then figure out how to make good money for musicians we respect. Also can the AI bros please just move on to their next shiny object. AI output that by design can only be derivative is just such a boring topic.<\/p>\n<p><strong>PC<\/strong>: Overall publishing revenues are growing, and organizations like NMPA and others are fighting the big battles. And then there\u2019s AI and the wave of panic around it. From our perspective, good music isn\u2019t going anywhere.<\/p>\n<hr \/>\n<h6>WHAT ARE THE BIGGEST CHALLENGES IN THE MUSIC PUBLISHING BUSINESS TODAY?<\/h6>\n<p><strong>PC:<\/strong> One immediate challenge is platform behavior \u2014 Spotify\u2019s bundling being a prime example. Another is the sheer amount of capital chasing catalog acquisitions, and majors bidding up assets. It can be hard for independents to compete on upfront money where the multiples makes no sense (i.e. deals that won\u2019t recoup in the Term). However our clients know we know we can deliver better services and better results, and ultimately help them increase the long term value of their catalogs.<\/p>\n<p><strong>JW: <\/strong>There are also challenges around rights clarity, especially with non-Western catalogs. There can be decades of inaccurate registrations that rights owners face, copyright gaps, and mistrust. We\u2019ve invested in providing the highest level of services to help solve these issues and maximize income for our clients. The work is painstaking, but if you don\u2019t do it, supervisors and artists end up dealing with the issues down the line. And thumbs down to the constant tech-bro-ification of music.<\/p>\n<hr \/>\n<h6>IF THERE WAS ONE THING YOU COULD CHANGE ABOUT THE GLOBAL MUSIC BUSINESS, WHAT WOULD IT BE AND WHY?<\/h6>\n<p><strong>PC:<\/strong> I\u2019d undo the kind of moves we\u2019ve seen with bundling and similar tactics that strip millions from songwriters and publishers. Songwriters need to be properly valued.<\/p>\n<p><strong>JW<\/strong>: I\u2019d love to see the industry stop talking about music as if it\u2019s just another asset class. When boardrooms treat songs like real estate, you end up with decisions that are totally divorced from the creative reality and lives of working musicians.<\/p>\n<hr \/>\n<p><strong><figure class=\"mbw-articlepic mbw-articlepic--right\"><a class=\"link-internal\" href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo.jpg\" target=\"_blank\" rel=\"noopener\"><\/a><a href=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo.jpg\" data-lightbox=\"image-set\" data-title=\"\"><img  class=\"lazyload\" src=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo-80x45.jpg\" data-srcset=\"https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo-80x45.jpg 80w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo-160x91.jpg 160w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo-320x181.jpg 320w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo-418x237.jpg 418w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo-648x367.jpg 648w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo-836x473.jpg 836w, https:\/\/www.musicbusinessworldwide.com\/files\/2024\/04\/tunecore-logo-1296x733.jpg 1296w\" data-sizes=\"auto\"><i class=\"fas fa-search-plus magnifying-glass-icon\"><\/i><\/a><\/figure>Trailblazers is supported by\u00a0<a class=\"link-external\" target=\"_blank\" href=\"https:\/\/www.tunecore.com\/\" rel=\"noopener\">TuneCore<\/a>.\u00a0<a class=\"link-relationship\" title=\"Companies &gt; TuneCore [274 articles]\" href=\"https:\/\/www.musicbusinessworldwide.com\/companies\/believe\/tunecore\/\">TuneCore<\/a>\u00a0provides self-releasing artists with technology and services across distribution, publishing administration, and a range of promotional services.\u00a0<a class=\"link-relationship\" title=\"Companies &gt; TuneCore [305 articles]\" href=\"https:\/\/www.musicbusinessworldwide.com\/companies\/believe\/tunecore\/\">TuneCore<\/a>\u00a0is part of\u00a0<a class=\"link-relationship\" title=\"Companies &gt; Believe [462 articles]\" href=\"https:\/\/www.musicbusinessworldwide.com\/companies\/believe\/\">Believe<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>MBW&#8217;s Trailblazers meets Jeff Waye, Co-Founder and COO, and Patrick Curley, Co-Founder, President and CEO, of independent publisher Third Side Music<\/p>\n","protected":false},"author":15,"featured_media":252018,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8],"tags":[132119,129965],"class_list":["post-252010","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-mbws-trailblazers","tag-trailblazers"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/252010","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/users\/15"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/comments?post=252010"}],"version-history":[{"count":14,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/252010\/revisions"}],"predecessor-version":[{"id":252035,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/posts\/252010\/revisions\/252035"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media\/252018"}],"wp:attachment":[{"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/media?parent=252010"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/categories?post=252010"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musicbusinessworldwide.com\/wp-json\/wp\/v2\/tags?post=252010"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}