The global licensing community is powered by an incredible group of professionals whose diverse backgrounds and creative energy drive innovation and excellence. Each week we profile one of these professionals in this ongoing series.

How did you get into licensing (or how did licensing find you)?
By accident. I tried to get into historical documentary making, which did not work out, but through this I was on media job agencies and needed work. One day a two-week temp job came up at Bravado (Universal Music) where they sent me to do admin and clean the stock room. Then Justin Bieber exploded in merchandise and there was no one in the U.K. doing licensing, so I looked after that. So, I owe it all to luck and Justin Bieber!

What’s a “typical” day in your current position?
The usual day is filled with emails and numerous external/internal video calls. This ranges from working with existing licensees to make sure everything is running smoothly, to talking internally to strategise our licensing program in line with the artist, to finding and pitching new licensees.

What’s your biggest personal or professional accomplishment?
Working on the Grateful Dead licensing program. It started before I joined Warner Music Group and is owed to some great people before me (and some still here). The way the business is run has made me readdress how business can and should be done.

What are the most significant trends or changes that you’ve seen in the business in recent years?
Video calls—both good and bad. Pre-Covid, you would travel hours or thousands of miles to sometimes do one meeting. This was not an efficient use of time, but you were able to make real human connections, which I still enjoy to this day. Post-Covid, you can have eight video calls with every corner of the earth all in one day. You utilize time and costs more efficiently, but you miss out on building real relationships.

What keeps you up at night? What’s your biggest challenge these days?
Keeping it all going! Once you have delivered on something, you need to move onto the next and think about the next year, etc.

In your opinion, what is the top skill every licensing executive should have in order to succeed?
My colleague jokes about it as I make this comment a lot when talking to graduate groups and interns. If you can talk to people and count to 10, then you can do well as a licensing executive. This is not meant to undermine our profession, but you need to have a good level of social skills matched with a good level of numbers and legal—but you don’t have to be the most charismatic person ever or be a rocket scientist.

What’s the best piece of advice you’ve ever received, or what’s your favorite quote?
‘It can wait until Monday.’ I have a very good work ethic and treat what we are doing very seriously, but we are not surgeons. Sometimes, downing tools and regrouping makes the most sense.

What is your favorite licensing deal of all time? (It doesn’t have to be one that was signed by you.)
There are too many to pick a favourite. But to pick something recent, I am a big King of the Hill fan and they have recently released a miniature King of the Hill x WD-40 can. This takes a very niche joke from the show, which aired nearly 30 years ago, and brings it to life. This is just good fun and I would like to know how these conversations started and were navigated!

If you weren’t in licensing, what would you be doing now?
Historical documentaries…

The last licensed product I bought was…
On any work trip I have to return home with presents for my children. Recently, on an LA trip, I got the Sonic × Hello Kitty Plush for my daughter.