Connie Orlando has always danced to her own beat while navigating an evolving entertainment business, a field in which she has grown from a young entrepreneur producing music programming into overseeing some of the industry’s most iconic content franchises.
It’s quite an accomplishment for the Queens, New York, native who, growing up, wasn’t focused on entertainment. “I was the first in my family to go to college, and back then you went to college to be a doctor, lawyer or accountant,” she said. “That’s it — there was no other anything.”
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Orlando, who earned a finance degree at Syracuse University, was an analyst at JPMorgan Chase in the early 1990s. “I was in the school of business because I’m excellent with numbers,” she said. “But I did not like working at a bank — it was very monotonous.”
Making Music a Job
On weekends, Orlando teamed up with a college roommate and aspiring director who enlisted all of her college friends to help with her music projects. “It opened up another world for me and showed me a lot about the art of production,” she said. “That’s how I was kind of ushered into the business.”
In 1995, Orlando launched CMO Productions while working as an executive producer at Big Dog Films, headed by Hype Williams. At CMO, she spearheaded projects such as Jay-Z’s 1998 soundtrack for Streets Is Watching.
CMO was one of the few female-led companies in an industry dominated by men, and Orlando was determined to see it take flight. “The beautiful thing was that the business was growing at such a quick pace that I was able to learn and get in at a time where it was needed,” she said.
In the early 2000s, BET knocked on Orlando’s door to develop several music specials before hiring her as VP of development. In 2015, she was named senior VP of specials, music and news.
Orlando said BET offered her the opportunity to develop content that represented the network’s target audience. “One of the most important lessons I learned is to get to know your audience and curate things that are original and unique to authentically represent that audience,” she said.
She always has her hand on the pulse of the culture, and she’s able to bring all of that together.”
Debra Lee, The Monarchs Collective
On Orlando’s watch, BET launched several successful originals, including awards show Black Girls Rock!
In 2017, BET promoted Orlando to head of programming and music strategy, overseeing scripted, nonscripted and documentary programming, and again in 2019 to her current post. She oversees the network’s original shows and tentpole events, including the BET Awards, Soul Train Awards and BET Hip Hop Awards.
“My goal is to always solidify BET’s status as the leading platform for innovative, authentic and culturally relevant content for the Black community,” she said. “That’s the nucleus of everything I do with all the shows.”
Orlando counts entertainment executive Tracy Edmonds and former BET original programming president Loretha Jones as mentors, and credits former BET chairman Debra Lee for giving her an opportunity to excel. “I believe, if you can see it, you can be it,” Orlando said. “And that speaks to seeing Debra run the company.”
Said Lee, now co-founder and partner at consultancy The Monarchs Collective: “People in the industry love Connie, and she’s built up a lot of goodwill within the industry. She’s very talented and really creative … she always has her hand on the pulse of the culture, and she’s able to bring all of that together.”
Giving Back
Orlando’s reach goes beyond the television screen. In 1998 she launched a nonprofit foundation, Just the Girls, to empower young women.
She enrolled in culinary school to further indulge in her love of cooking, which she calls her “therapy.”
Orlando hopes to continue developing authentic and innovative content. She also encourages young female producers and entrepreneurs to challenge themselves and be open to unique opportunities.
“I think the scariest part in any career in entertainment is being willing to change, but I am where I am because I was open to trying something new,” she said. “I didn’t know I wanted to be a producer until I did a lot of other things. It’s almost like I narrowed down what I didn’t want to be and then saw what I really loved.”
