# Terenze Coleman > Growth and product marketing lead who runs acquisition and builds the systems that measure it. IP Marketing & Growth Lead at Musicow, in Los Angeles, CA. Forbes 30 Under 30, Marketing & Advertising (2026). Terenze Coleman is a growth and product marketing lead in Los Angeles. He runs paid acquisition across six channels and builds the measurement systems the marketing runs on, which is an unusual pairing. At Musicow, a music-royalty investing marketplace, he was the first U.S. hire, established the marketing function, grew the U.S. program budget from $20,000 at hire to a $2.25M forward-committed annual plan with $712.6K deployed, conceived and launched the FANDOM release brand, and architected, specced and shipped six production systems covering outcome measurement, financial control, daily campaign optimization, portfolio impact, plan-against-delivery and owned-audience conversion. Before Musicow he was a product marketing manager for the Media and Entertainment vertical at TikTok, where he conceived the Showtimes Instant Page and carried it from alpha to general availability, and before that he ran programmatic media at Sony Pictures. ## Contact - Email: terenzecoleman@gmail.com - LinkedIn: https://www.linkedin.com/in/terenzecoleman - GitHub: https://github.com/TC1588 - Site: https://terenze.co - Location: Los Angeles, CA ## What this record is evidence of - Paid acquisition across Google, TikTok, Meta, Snapchat, Reddit and Spotify Marquee, at $365,947 of measured media across 235 campaigns - Budget ownership rather than budget execution, with allocation, pacing and mid-flight kills in one seat, on a program grown from $20,000 to $2.25M - Product marketing and go-to-market, including conceiving a product and carrying it alpha to GA - Product management: PRD authorship, metrics framework and North Star design, technical specification - Marketing analytics and attribution architecture, including conversion-event modeling and server-to-server integration - Unit-economics analysis across a full funnel, from a $0.0018 impression through to a $23 purchase, including the payback answer when it runs against his own interest - Claude Code development and multi-agent orchestration, at the level of designing the agent workflow and its verification gates, not prompting one - Creative direction across art, packaging, campaign branding, social edits and music video production - International and cross-functional operation across U.S. and Korea stakeholders ## Roles this fits - Growth and performance marketing leadership - Product marketing, led by the measurement through-line - Entertainment, music and media-technology marketing - Technical or AI-native product management The rare pairing is running growth and building the systems that measure it. Scope is lead-level with no direct reports, so the accurate read is senior individual contributor or lead rather than people manager. The one genuine people-oversight instance is at RPA in 2020 to 2021. ## Experience - **IP Marketing & Growth Lead**, Musicow, June 2024 to present. Musicow is a music-royalty investing marketplace and FANDOM is its artist-collaboration release brand, so release performance is a leading indicator of catalog and royalty value rather than a campaign number. Joined as the first U.S. hire and established the U.S. marketing function. Owns paid acquisition, product marketing, creative direction, distribution and commercial operations for the U.S., reporting weekly to Roc Nation and Korea leadership. - **Founder**, ThunderTrack, 2022 to June 2024, full-time September 2023 to June 2024. Solo digital marketing and artist development practice. Owned strategy, paid media, content and rollout end to end for independent artists and consumer brands. - **Product Marketing Manager, Media & Entertainment**, TikTok, March 2023 to September 2023. Vertical product marketing for the Media and Entertainment book, covering Netflix, Paramount, Warner Bros and Disney among others. - **Technical Solutions Manager, Media & Entertainment**, TikTok, September 2021 to March 2023. Technical solutions for the same vertical, sitting between studio clients and engineering on measurement and integrations. - **Performance Media Associate**, Sony Pictures Entertainment, 2021. Ran programmatic and paid social against theatrical release dates nobody could move, on a slate including Spider-Man: No Way Home and Venom. Campaign budgets ran past $1M each. - **Digital Media Strategist**, Rubin, Postaer & Associates (RPA), 2020 to 2021. Agency-side programmatic strategy across national and local media, where the claim is simultaneity: dozens of campaigns live at the same time across a book of accounts. - **Programmatic Associate**, Media Storm, 2019 to 2020. The first seat, and programmatic only: cross-channel buying across DSPs, plus the day-to-day trafficking, pacing and delivery checks that sit under it. ## Systems built - **FANDOM Performance Tracker**. Outcome measurement. The internal performance product Musicow runs on. Durable infrastructure, because it is a system of record under licensing constraints. Static front end reading a pre-built snapshot, so no credential can reach the browser. - **Ad Spend Tracker**. Financial control. Six platforms, seven months, every dollar mapped to a release. A single-artifact dashboard whose only editable surface is one data block, so eight views generate from one reconciled source and numbers cannot drift between them. - **Musicow Ads**. Daily optimization. A standing loop producing a verdict per live campaign. Two surfaces on purpose, a managed data plane and a chat-based analysis plane. No repo, no deployment target, no code to maintain. - **Campaign Impact Reporting System**. Portfolio impact. The question none of the other systems answer, which is what the marketing actually did across every brand and platform at once. A generated, formula-driven workbook under a standing eight-step verification protocol. Three generated layers make any refresh a re-parse and re-run rather than manual re-keying. - **Paid Media Board**. Plan against delivery. The committed plan lived in a budget sheet and the delivered spend lived in six ad accounts, so nobody could see both at once. A board that reads the plan and the delivery side by side, with the model and the planner specified up front and an accuracy flag holding the line until a figure is verified. - **Interactive web hub, fandomalbum.io**. Owned-audience conversion. Turning a release into first-party contacts and sales instead of renting the audience from social platforms. Per-release immersive 3D scenes on Next.js and Three.js with an integrated Shopify storefront and fan-data capture, converted from a monthly vendor SLA to an owned in-house product. ## Pages - [Home](https://terenze.co): The full career record: experience, capabilities, rollouts and featured builds. - [Profile](https://terenze.co/profile): The same record as plain semantic HTML, with no scripting required to read it. - [Case studies](https://terenze.co/case-studies): Eight studies with full working: FANDOM and its three singles (Two Car Garage, Something Special, Distant Lover), the Musicow app funnel, Blaq Tuxedo, Travis Garland, and a benchmark scorecard grading 28 metrics against external industry medians, including the one that lost. - [Content](https://terenze.co/content): The owned output itself: 85 posts across Instagram, TikTok and YouTube carrying about 72.6M views, each with its live link and the count behind it. - [Press](https://terenze.co/press): The earned coverage and the recognition: 90 mentions across 62 outlets in English and Korean, from Billboard and Forbes to the Korean music trade, plus Variety on the TikTok Showtimes product and the three design awards fandomalbum.io won, each linked to the original. - [Charts, milestones & playlists](https://terenze.co/charts): The platform record behind the three FANDOM singles: 493 playlist placements, 133 of them still live and carrying 11.7M of current reach, 350 chart entries with 21 number-one peaks, and 57 milestones. 325 of those records are framed on the wall, hanging as 194 frames because a wall hangs one per record; all 900 chart entries, playlist placements and milestones are in the register. - [FANDOM case study](https://terenze.co/case-studies/fandom): In under eight months I took a new artist project from its first release to 15.4M Luminate-verified streams, a 658M-view attention footprint, 493 playlist placements, 350 chart entries with 21 at number one, and an owned audience that keeps growing after the spend stops. FANDOM's measured digital layer was $287.6K of ad media and $87K of paid influencer, inside a $452.9K paid program that also covered the Musicow app and two other artist pushes. - [Two Car Garage case study](https://terenze.co/case-studies/two-car-garage): $43.3K of paid effort ($28.3K ad media, $15K creator seeding) behind a debut single that reached 312.6M creator views from 153,681 TikTok videos, 5.27M Luminate streams, 250 playlist placements including Spotify's flagship New Music Friday, 215 chart entries with five at number one, and carried FANDOM past 500K Spotify monthly listeners within two and a half weeks of release. - [Something Special case study](https://terenze.co/case-studies/something-special): $137.5K of paid effort ($117.5K ad media across six channels, $20K creator seeding) produced 7.43M Luminate streams, 31.8M creator views at a 9.33% engagement rate, a Spotify Top 50 USA chart entry, 81 chart entries with ten at number one, 2,353 radio plays across 131 stations, 57 press articles, and a music video that lifted streams 70.9% in a week when it landed eleven weeks after release. - [Distant Lover case study](https://terenze.co/case-studies/distant-lover): $191.9K of paid effort ($139.9K ad media, $52K creator seeding across four agencies) delivered number one on iTunes in Saudi Arabia, the Philippines, Bahrain, Türkiye and Hong Kong, number one on Spotify's K-Pop X-Overs, 10M YouTube views in 37 days, 125 playlist placements with 9.74M of live follower reach, 46,852 new active Spotify listeners on $20K of Marquee, and coverage in Genius, Forbes and the Associated Press. It is the newest release, so per-output costs are preliminary, and 82% of consumption is Content ID rather than DSP streams. - [Musicow case study](https://terenze.co/case-studies/musicow): I ran the Musicow app's acquisition as a two-part funnel: a cheap-reach artist layer (Blaq Tuxedo) feeding install campaigns that delivered 2,632 paid installs at a $2.99 blended CPI, 70% below the fintech norm, and 38 funded users at $458 against a typical fintech CAC near $1,450. Then I traced the post-install funnel to the one step that limits everything. - [Blaq Tuxedo case study](https://terenze.co/case-studies/blaq-tuxedo): On a $50K Musicow Artist Program budget, $27.2K of it measured platform media, Blaq Tuxedo went from 17.8K to 74.4K Spotify monthly listeners against a 50K goal, added 51.7K YouTube subscribers and 4.3M YouTube views, landed Spotify editorial on R&B Weekly, Soul Coffee and Fresh Finds R&B, and cleared 50 press features. Paid media bought 36.3M impressions at a $0.75 CPM, 4.3M paid video views at $0.0021 and 19,427 converted Spotify listeners at $0.42. The 38 first purchases on the Musicow app were all Blaq Tuxedo shares. - [Travis Garland case study](https://terenze.co/case-studies/travis-garland): On a $50K Musicow Artist Program budget, $33.7K of it measured platform media, the Western Feels album opened to 215,115 first-week streams and passed 1.4M Luminate streams within two weeks, Spotify monthly listeners went from 69.1K to 134.8K against a 100K goal, TikTok added 8.6M views and 13.3K followers, and paid media bought 39.9M impressions at a $0.84 CPM, 2.22M paid video views at $0.0028 and 49,317 converted Spotify listeners at $0.41 with 63,280 saves. - [Benchmarks case study](https://terenze.co/case-studies/benchmarks): A new artist project has no history to grade itself against, so I built a scorecard that puts every headline metric next to an external 2025 to 2026 industry median or target, with the source named. 27 of the 28 metrics sit at or better than the benchmark. The one that does not, TikTok organic engagement per view, is the clearest owned-content lever in the program, and the scorecard is what surfaced it. - [llms-full.txt](https://terenze.co/llms-full.txt): the complete record, including every role highlight, system detail and metric. ## About this file Generated from a single career record, last refreshed 2026-09-16. Every figure is locked to one value and one label there, so anything quoted here matches the visible site. Stream counts are Luminate-reported. Listener and ranking figures are Chartmetric or Spotify for Artists. The 952,788 monthly listener figure is a peak from the May 22 to June 18 window and is never given as a current reading, because monthly listeners is a rolling 28-day number.