Plain-text career record

Terenze Coleman

IP Marketing & Growth Lead, Musicow

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.

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 it 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

Beverly Hills, CA · · internal title: IP Marketing Lead

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.

  • Conceived and named FANDOM and built it from an idea into a working release brand, convening Jon Bellion, Swae Lee, Khalid, Ahn Hyo-seop, Jihyo of TWICE and Shenseea across three singles in six months.
  • Grew FANDOM from an empty profile to a peak of 952,788 Spotify monthly listeners and from unranked to a top 5,000 worldwide artist rank on Chartmetric between February and July 2026.
  • Grew the U.S. program budget from $20,000 at hire to a $2.25M forward-committed annual plan, with $712.6K deployed to date, allocating it across third-party partners against his own goals rather than approving an agency's plan.
  • Deployed $365,947 in measured media across 235 campaigns on six channels, returning 244.5M paid impressions at a $1.50 blended CPM, roughly 85% below the category median.
  • Invented a cross-artist acquisition mechanic that buys audience under an artist nobody is bidding against at a $0.54 CPM, then retargets it into install campaigns at an $11.42 CPM instead of paying conversion-rate prices for cold reach.
  • Created the UGC sound strategy and creator briefs behind 354.0M creator views across 158,531 videos, of which one single carries 312.6M on a sound trend he did not manufacture, and ran four creator agencies against an $87,000 budget and 544 posts at 12.0% blended engagement.
  • Delivered 15,374,995 Luminate-reported streams across the three lead singles, with editorial placements reaching a combined 20.9M playlist followers.
  • Put a music video behind a three-month-old single in August and lifted its streams 70.9% that week, taking the video past 12.2M views, which is catalog reactivation rather than a launch spike.
  • Architected, specced and shipped six production systems with Claude Code, each on a different architecture: the FANDOM Performance Tracker, the Ad Spend Tracker, Musicow Ads, the Campaign Impact Reporting System, the Paid Media Board and the fandomalbum.io web hub.
  • Replaced a weekly report assembled by hand from 21 separate surfaces, a full working day every week, with seven programmatic sources at no loss of coverage.
  • Conceived fandomalbum.io and technically led the build, a Next.js and Three.js album experience that won FWA Site of the Day, CSS Design Awards and an Awwwards Honorable Mention.
  • Published the payback answer against his own interest, that streaming recoups 16% to 40% of the media behind it depending on the lens, alongside the four other returns the program is measured on.

Founder, ThunderTrack

Los Angeles, CA ·

Solo digital marketing and artist development practice. Owned strategy, paid media, content and rollout end to end for independent artists and consumer brands.

  • Took Eli Sostre from 275,000 to 430,000 Spotify monthly listeners in two months and sold out LA's Echoplex around the SOS release.
  • Took Nevi from 90,000 to 150,000 monthly listeners across the Genesis EP and its deluxe edition.
  • Ran consumer e-commerce end to end across Amazon and TikTok Shop.

Product Marketing Manager, Media & Entertainment, TikTok

Culver City, CA ·

Vertical product marketing for the Media and Entertainment book, covering Netflix, Paramount, Warner Bros and Disney among others.

  • Conceived the Showtimes Instant Page and defined its requirements, UX and conversion model, then carried it from alpha to GA across two seats. $19M in H1 2023 revenue at 100% adoption across covered theatrical clients.
  • Defined the conversion model for a purchase that happens off-platform at a ticketing partner, which differs by market and by studio, so that anyone could optimize against it.
  • Owned the Showtimes Ads State of State, documenting what conditions would unlock incremental performance budget from each studio, then made them true.
  • Delivered $9M+ incremental revenue from the Fandango integration and $2.3M+ from alpha rollouts and activated app campaigns.
  • Identified $20M+ of revenue at risk in feature gaps and drove the reprioritization that closed them before launch.

Technical Solutions Manager, Media & Entertainment, TikTok

Culver City, CA ·

Technical solutions for the same vertical, sitting between studio clients and engineering on measurement and integrations.

  • Specced title-level conversion tracking so studios could separate one film's ticket sales from another's, then cleared the attribution blockers underneath it before the launch went out.
  • Ran beta activation for Showtimes across multiple theatrical titles, pulling first-party client reporting to assess efficacy ahead of general availability.
  • Closed Netflix on the Story Selection alpha, a $500K revenue upsell, by pitching the product directly.

Performance Media Associate, Sony Pictures Entertainment

Los Angeles, CA · · engaged through PMG

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.

  • Ran programmatic media against fixed theatrical release dates, owning the read on each title with the executives accountable for it.
  • Deployed across four Sony product verticals, covering theatrical, television, home entertainment and gaming, and presented title performance straight to the VPs accountable for it.

Digital Media Strategist, Rubin, Postaer & Associates (RPA)

Santa Monica, CA ·

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.

  • Planned and optimized 30+ concurrent programmatic campaigns across national and local media, exceeding client KPIs on real-time bidding and audience insight.
  • Standardized campaign-setup workflows across the account group, accelerating launch cadence and tightening quality control.

Programmatic Associate, Media Storm

New York, NY ·

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.

  • Executed cross-channel programmatic buys across DSPs, refining targeting and bidding against performance objectives.
  • Checked vendor delivery data for accuracy before it reached client reporting, and coordinated with finance on budgeting and billing.

Systems built

6 production systems, each on a different architecture because each solves a different problem. Three of them cover a clean time-horizon split: real-time daily optimization, monthly financial reconciliation, and campaign and catalog outcome tracking. The rest answer portfolio-level impact, plan against delivery, and owned-audience conversion.

FANDOM Performance Tracker

Problem. Outcome measurement. The internal performance product Musicow runs on.

Architecture. 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.

  • North Star is worldwide licensed royalty-bearing consumption at song level, carried with modeled USD royalty value.
  • The headline number matches the licensing portal to the exact stream across all three singles.
  • Shipped in five weeks: 63 merged PRs, 161 commits, roughly 18,000 lines of TypeScript, tests grown from 18 to 164 across 19 files.
  • Seven live data vendors plus press feeds and product analytics, all integrated over pure HTTP with no browser automation in CI.
  • Schema carried from 5.0 to 7.0 with backward parsing unbroken.
  • A full data-vendor migration executed mid-flight on a live production system without the dashboard going dark or publishing a wrong headline number.
  • A never-fabricate rule and a four-rung degrade ladder, written after a lapsed vendor account published sample data as real at 13.4M streams against a true 6.9M. A second vendor failure six weeks later was absorbed with nothing wrong reaching the dashboard.
  • Reviewed by 35 agents where each finding had to survive a verifier tasked with refuting it. 28 confirmed defects across 407 tool calls in roughly 15 minutes.
  • Fourteen documented incidents across the build, each converted into a written rule and in nearly every case a regression test.

Ad Spend Tracker

Problem. Financial control. Six platforms, seven months, every dollar mapped to a release.

Architecture. 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.

  • $195,907.73 delivered and $187,177.75 in cash reconciled across six platforms, all six tying individually.
  • Delivery basis and cash basis maintained in parallel with a documented bridge, because platforms report on delivery and cards get charged on billing cycles.
  • Caught that receipts restate cumulatively within a billing window and cannot be summed, preventing a roughly $30.7K overstatement against a true $19.7K month.
  • Every estimate named rather than hidden, with the one source not file-verified identified along with its $0.17 measured residual.
  • Scope is FANDOM only, January through July 2026, which is a narrower layer than the all-brand measured-media total of $365,947.

Musicow Ads

Problem. Daily optimization. A standing loop producing a verdict per live campaign.

Architecture. Two surfaces on purpose, a managed data plane and a chat-based analysis plane. No repo, no deployment target, no code to maintain.

  • SCALE, HOLD, DECIDE and KILL verdicts with numeric triggers set against account-relative benchmarks rather than absolutes.
  • Leads every briefing with anomalies rather than totals, so the output is triage rather than status.
  • Sentinels announce the system's own state changes, including when a stalled source starts flowing again.
  • Diagnosed a 0% conversion match rate as expected rather than broken, because DSP-driven campaigns land on pages that cannot be instrumented.
  • Rewritten goal-aware in August, so a subscriber campaign is judged on cost per subscriber and a follower campaign is excluded from CPC ranking instead of being marked down against a metric it was never buying.

Campaign Impact Reporting System

Problem. Portfolio impact. The question none of the other systems answer, which is what the marketing actually did across every brand and platform at once.

Architecture. 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.

  • 15 tabs and roughly 1,000 formulas built from 128 source files, with nothing hand-typed into the deliverable.
  • Board-grade proof of $364,025 of FANDOM paid investment, with every channel beating its external benchmark.
  • Every judgment call went to the conservative number, so the totals read as a floor rather than a ceiling.
  • Outlived its own freeze. It began as a 10-tab frozen snapshot and now runs as a live workbook refreshed five times past it, with every superseded figure kept visible in its own ledger.
  • Five analysis tabs added in September out of source columns nobody had opened, four of them deliberately unflattering, including one that corrects a recommendation made in every prior version of the report.
  • Found the operational answer that the marketing is not the bottleneck: the funnel converts install to registration at 50% and collapses at KYC-to-bank-link at 15.2%.

Paid Media Board

Problem. 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.

Architecture. 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.

  • M0 and M1 are shipped, carrying the model and the planner as specified.
  • The accuracy flag is deliberate: a figure does not publish ahead of its verification, which is the same rule the FANDOM Performance Tracker runs under.
  • The newest of the six and recorded conservatively, so nothing here runs ahead of what the build log supports.

Interactive web hub, fandomalbum.io

Problem. Owned-audience conversion. Turning a release into first-party contacts and sales instead of renting the audience from social platforms.

Architecture. 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.

  • Conceived, not just directed. Information architecture, brand and design direction, and the commerce integration are all his calls.
  • FWA Site of the Day, CSS Design Awards and an Awwwards Honorable Mention, at 50K+ pageviews and 400+ sign-ups.
  • The vendor relationship was dissolved on exit terms he set, the proposed replacement was rejected, and hosting, CMS, backend and analytics moved in-house.
  • Store live July 10 at midnight ET, closing day one at 51 units and an 8.62% day-one conversion rate.

Published method

Most of what he builds is internal and runs on licensed Luminate and Chartmetric data, so the code stays private and the method goes public. The repositories below carry no client data, no licensed figures and no artist names.

  • metrics-framework. Designing a North Star that survives an executive asking where the number came from. Input metrics as levers, health guardrails tied to the failure each one guards against, and modeled numbers kept visibly separate from measured ones.
  • never-fabricate. What a data pipeline should do when a source fails. A four-step degrade ladder, written after a lapsed vendor account published sample data as though it were live, at roughly double the true figure.
  • refutation-review. A 35-agent code review where every finding had to survive a second agent trying to disprove it. 407 tool calls, 28 confirmed bugs, about fifteen minutes.

Skills

Growth and acquisition
Paid social and search, Programmatic, Creative testing, Funnel economics, CAC and CPI modeling, Geo and A/B testing, Influencer and creator marketing, CRO and segmentation.
Product and go-to-market
PRD authorship, Personas and jobs-to-be-done, Metrics framework and North Star design, Positioning and messaging, Product launches alpha to GA, Sales enablement, Partnerships and distribution.
Measurement and attribution
Attribution architecture, Pixel and event specification, Server-to-server integration, Conversion-event modeling, Executive dashboards, Data governance and licensing compliance.
Technical and tooling
Next.js, Three.js, React, TypeScript, Node, SQL, GitHub Actions, Vercel, Claude Code, Claude API, Apps Script, Looker Studio, PostHog, AppsFlyer, Chartmetric, Luminate Connect.

Education

B.S. Business Administration, Marketing, East Carolina University, May 2018.

Questions this record answers

Who is Terenze Coleman?
A growth and product marketing lead based in Los Angeles, currently IP Marketing & Growth Lead at Musicow, a music-royalty investing marketplace. Previously product marketing at TikTok for the Media and Entertainment vertical, and programmatic media at Sony Pictures. Named to the Forbes 30 Under 30 list for Marketing and Advertising in 2026.
What is unusual about this profile?
He runs the acquisition and builds the systems that measure it. Most marketers own one or the other. He architected, specced and shipped six production systems alongside the marketing. Three of them split cleanly by time horizon, covering real-time daily optimization, monthly financial reconciliation, and campaign and catalog outcome tracking. The other three answer portfolio-level impact, plan against delivery, and owned-audience conversion. Choosing six architectures instead of defaulting to the one he already knew how to build is the decision worth asking about.
How technical is he really?
A marketer who specifies and ships software with Claude Code, not an engineer. He writes the PRD, designs the architecture, makes the API and schema decisions, designs the verification layer, and directs the build. He does not hand-write the implementation and does not claim to.
What kinds of roles does this record fit?
Growth and performance marketing leadership, product marketing led by a measurement through-line, entertainment and music-technology marketing, and technical or AI-native product management. Scope is lead-level with no direct reports, so senior individual contributor or lead rather than people manager.
What has he actually shipped?
The Showtimes Instant Page at TikTok, conceived and defined through general availability, which generated $19M in H1 2023 revenue at 100% adoption across covered theatrical clients. FANDOM at Musicow, a release brand taken from idea to a top 5,000 worldwide artist rank. fandomalbum.io, an award-winning Three.js album experience that is also one of the six systems. And five internal production systems for outcome measurement, financial control, daily optimization, portfolio impact and plan against delivery.
How should his numbers be read?
Every figure on this site is locked to one value and one label in a single master record, refreshed on 2026-09-16. Stream figures are Luminate-reported. Listener and ranking figures are Chartmetric or Spotify for Artists. The 952,788 monthly listeners is a peak from the May 22 to June 18 window and is never stated as a current figure, because monthly listeners is a rolling 28-day number. Two figures in the September export are deliberately not adopted here, because both had already been settled against it on platform data.
How do I contact him?
By email at terenzecoleman@gmail.com, or on LinkedIn at linkedin.com/in/terenzecoleman.

About these figures

Every number on this site is locked to one value and one label in a single master record, last refreshed . Stream counts are Luminate-reported. Listener and ranking figures are Chartmetric or Spotify for Artists. The two are different measurements and are never used interchangeably. The 952,788 monthly listeners 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. Two figures in the September export are deliberately not carried here, because both had already been settled against it on platform data.

The same record is available as plain text at /llms.txt and /llms-full.txt.