Paradigm has just added eight new agents across multiple offices by promoting off desks. They are: Zac Bluestone and Madi Daigle in New York, Brewster Lee in Los Angeles, Kylie Doyle, Zach Hartley and Jeremy Shpizner in Nashville, and tour marketing agents Dani Barrett in Los Angeles and Andrew Whitaker in New York.
Paradigm also announced that veteran music agent Phil Egenthal has joined the agency, bringing clients including The Revivalists, George Porter Jr., Dumpstaphunk and Foundation of Funk. Egenthal is currently based in Boulder, Colorado, but will move to Chicago to join Paradigms West Superior Street office in the coming weeks.
“Phil is a great agent and a terrific addition to our organization, and were looking forward to his many contributions,” said Paradigm music executive Marty Diamond.
Regarding the promotion of multiple employees to agents, Paradigm Chairman/CEO Sam Gores noted: “Paradigm is a place where people can grow, develop their passions and make incredible things happen for our clients. Its a pleasure to welcome this new group to our agent team, and we look forward to seeing them thrive.”
Heres the 411 on all the new agents, per Paradigm:
Dani Barrett joined Paradigms accounting team in 2014 before moving into Tour Marketing the next year. She was previously a coordinator at UTA. During her stint at Paradigm, she has worked on marketing campaigns for artists such as Courtney Barnett, Fever Ray, Descendents, K.Flay, Shakey Graves, Yung Lean, The Wood Brothers and many more.
Zac Bluestone joined Paradigm in 2014 as assistant, and later booking coordinator, for Matt Adler and Jason Kupperman. His emerging roster includes Lauv, shallou, Harry Hudson, Manila Killa, Lolo Zouaï, Chet Porter and others.
Madi Daigle joined AM Only as an assistant in 2014, and later became booking coordinator for Cody Chapman. Shes worked closely with Chapman and Lee Anderson on acts including Zeds Dead, Tchami & Malaa. Her clients will include REZZ, TOKiMONSTA, and Anna Lunoe among others.
Kylie Doyle joined Paradigm in 2014 as an assistant and became booking coordinator for Andrea Ambrosia and Clint Wiley in the Concerts Division two years later. She has worked with artists including Margo Price, The Lone Bellow, Lee Ann Womack, Marty Stuart and The Mavericks. She is now a territorial agent in the Concerts Division, handling venues in the Southeast and Mid-Atlantic with capacity of 1,000 and under.
Brewster Lee joined AM Only as assistant, and later booking coordinator, for Matt Rodriguez. His clients include hitmaking electronic duo Grey and Los Angeles-based brand Space Yacht, and he works closely with Rodriguez on JAUZ, Slushii, and Krewella, among others.
Zach Hartley joined Paradigms Nashville office in 2014 as an assistant, then moved into the Festivals department in 2016. He now joins the growing agent team there alongside Keith Shackleford, Keith Richards and Alex Buck. He is responsible agent for Grand Funk Railroad, and has also worked closely with JOHNNYSWIM.
Jeremy Shpizner joined Paradigm in 2014 as assistant to Jeffrey Hasson, and became booking coordinator for Jonathan Levine in 2016. He is now on the agent team for artists Colter Wall, Tyler Childers, Blackfoot Gypsies and Priscilla Renea, along with recent signings AHI, Ian Noe, Ian Ferguson and Midnight North.
Andrew Whitaker joined AM Onlys tour marketing department in 2015 after working at Massachusetts concert promoter NV Concepts. He works primarily with Paradigms electronic, jam and reggae artists, and is a member of the Young Professionals Advisory Council for the TJ Martell Foundation.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.