Exec Profile: Mary Rahmani, Moon Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann

Founder Moon Projects Years with Company: Since May 2021 Address: Los Angeles, CA Web: moonprojects.com Email: hello@moonprojects.com Clients: Consultant for various agencies, labels and management companies. JV with Republic (Em Beihold)

With a love for art and an uncanny eye for trends, Mary Rahmani carved a name for herself in both the music industry and tech spaces. Having left her position at TikTok, she combined these areas of expertise to form Moon Projects. Her company melds traditional record label services with newschool social media savvy. artist or song because everyone’s For You feed is different based on interests and what they’re engaging with.

You can always hire your top-tier, creator/ influencer. A lot of people always went to Charli D’Amelio or Addison Rae. That guarantees a lot of numbers, but is it going to stick? I prefer to have a more ground up approach.

I learned a lot about the business but felt limited in my creativity. As I met more artists and felt I could advocate for them, I wanted to expand my wings. I pushed myself out of the label system and went into tech.

When I worked at record labels, I did A&R. I was managing artists and being part of every aspect of their creative, from photos to videos. Even at TikTok, where my role was heading artist partnerships for North America, I wanted to go above and beyond. “What are you doing about touring? What’s your content strategy? What mixers and producers are you working with? Do you need to meet more writers or artists?” I’ve worn many hats in this business. I’ve taken all that knowledge and applied it to Moon Projects. I have a lot of freedom, which is something I didn’t experience in the label system.

I saw how apps work, and how the tech world views music and creativity. I kept getting role after role, because tech companies needed someone from the music industry to help them understand how artists think. [Artists] don’t just say yes because of numbers. They want to feel like there’s a reason behind something.

I’m a bit partial to Universal. I had three roles under the UMG system. I worked at Interscope and Geffen doing finance, and then creative, where I helped on photo and video shoots. A few years after that, I did A&R for a label called Harvest Records under Capitol Music Group when Steve Barnett took over. It’s always held a special place in my heart.

But what got me feeling even stronger about [Republic] was, while I was at TikTok, I was engaging with so many record labels. Republic was always open to working with our artists. They said yes to so many things. It was refreshing to see a major label go with a new app.

I don’t charge anyone just to have a conversation. I’m happy to talk. When I take on a project, we do an hourly rate, a monthly rate, or a project rate. It sort of depends on the details of the work. When I sign an artist to Republic, it’s a traditional record deal. They get an advance and all the other bells and whistles.

[Artists] need to know that [social media platforms] exist. That’s step one - be present. Download [them] and spend time watching. Don’t assume you know everything about these platforms. They change constantly. You’re building your brand and need to know what’s happening so you can have an opinion. Grab your handle on all platforms as you learn and absorb. If you have a song that’s trending, you can jump on that moment “Grab your handle on all platforms as you learn and absorb. If you have a song that’s trending, quickly. Don’t feel like you have to be boxed into what you’re seeing. Push the boundaries and make unique, artistic content. you can jump on that moment quickly.” The Future of Digital Promotions TikTok is still going to be the biggest platform for at least another year or two, but I’m keeping a close eye on Discord.

From Social Media to the Traditional I’m very interested in Web3. I’m still learning

Music Industry a lot about what’s going to happen in the I just signed my first artist. Her name is Em Metaverse, not just with the company formally Beihold, and I found her on TikTok. Her voice known as Facebook, but in spaces like Roblox stood out to me. I am always looking at artists and Minecraft, and how traditional companies and songs that are trending and moving. But partner with those experiences. the kinds of artists I want to work with are not just stuck on short-form platforms. They have a Will Traditional Labels Survive? chance at a career in the more traditional space. I don’t think [the label system will] ever go away. We’ve been hearing that question since

Social Media Visibility Myspace, even Napster. Change is scary for all of I’m always open to hearing about artists. A lot of us. The industry has learned to be ahead of new the old formats have dissipated, such as blogs technologies and platforms as they pop up. They and going to shows, because of the pandemic. have divisions dedicated to those endeavors. So So it’s important for me to keep my eye on social it won’t go away, but it will change and it should. platforms. It’s not because I want to be a part of We need to modernize our approaches. And the virality. Of course, that’s not a bad thing if your ones that don’t will be left behind. song goes viral. But I don’t want a flash in the pan. I want two, three, four, five albums and for Getting Out There there to be a career. Why do you want to be an artist? Why are you making music? Is it for you, or is it to be

Creativity First, Then Data discovered and have a career? And if so, what When I was at TikTok, I was tagged as the are you doing to get those things in place? Yes, creative one because I didn’t look at data first. you have to make great music and have talent I’m looking based off goose bumps. Then, when I behind it. But if you’re looking to go on the road do a deeper dive, am I hearing tracks that mean right now, it’s a bit challenging. And if you’re something and have potential? Do you have a hoping for someone to write about you, those good head on your shoulders? Do you really [opportunities] are also limited. want to have a career? Or do you just want to So, the best thing you can do is put your be social media famous? In terms of music, I’m music on platforms. Get active. Build a looking for something that sounds familiar but is community. Build that connection. The rest will also left of center. happen organically, because people can see how important it is to you, they love what you’re

Every Type of Creator creating, and they’re rooting for you. I love working with micro creators, which are creators that have between 20,000 and 100,000 To the Moon followers, sometimes less, sometimes more. Moon Projects is me. Moon is my son’s middle They have pretty good views and engagement name. And I’ve been in this business for about but don’t have that blue verification checkmark. 25 years. I started as an intern and I’m an I’ve hired medical students. People that do executive now. I did it on my own, fueled by crafting. Beauty creators. Fashion creators. passion, vision, and love for music and art. I give Mental health creators. It’s all topics, because that passion and energy to all my projects. I life is about everything and so is music. There don’t need to compare myself to other agencies can be presence in various verticals about an or record labels; Moon is what’s inside my heart.

Producer-Composer. You will work from their brand new state-of-theart recording studios in Hollywood and duties will be split between composing and executive producing as well as helping to spearhead our custom music-for-picture endeavors. You will help maintain their strong production values and creative standards through your own compositions for custom music and the library as well as through your oversight of freelance composers and producers providing music and sound design services. Apply at Salary.com.

Affairs. CAA is currently seeking an assistant to provide support to an executive in the Music Touring Business Affairs department. The position offers a tremendous opportunity to learn about the entertainment/ legal affairs business and provides exposure to industry executives and lawyers. The ideal candidate is a self-starter, possessing a desire to pursue a career in the business realm of the entertainment industry. Apply at LinkedIn.

Music Production. Universal Film Music services the music needs for the studio and its subsidiary divisions including Illumination Entertainment, DreamWorks Animation, Focus Features, Working Title, Amblin, Blumhouse, 1440 Home Entertainment, as well as various needs for Comcast NBCUniversal. The team is looking for a Coordinator that will support the film music and soundtrack production executives. Apply at Lensa.

Publishing, YouTube Music. You will be on the YouTube Music team whose aim is growing labels, publishers, artists, and songwriters online, building successful careers for artists and songwriters and business models for the music industry on YouTube. You will be responsible for providing ongoing business development and relationship management to YouTube’s music publishing partners. Apply at LinkedIn.

For More Career Opportunities, check out musicconnection. com daily. And sign up for MC’s Weekly Bulletin newsletter.

All Stars catalog. Peter Raleigh, Co-Founder of the global music publishing company known for its iconic catalogs and successful track record of film, tv and commercial synch licensing, says, “We are honored to be showcasing the musical genius of Jr. Walker, a seminal artist whose influence still reverberates in today's music.”

Records. The artist’s debut release for the label is the “Numb Little Bug” single. “Last year, all of my dreams were coming true,” Beihold says. “Everything I wanted was

happening, but somehow I didn’t feel anything. I was struggling with some heavy anxiety and I was on antidepressants. Songs weren’t really coming to me the way they used to. I felt numb. The antidepressants sucked the soul and energy out of me a little bit. I wrote ‘Numb Little Bug’ about the feeling.” Contact marisa.bianco@umusic.com for more info.

signed to Wild Kingdom. The band includes Zinny Zan and Stefan Bergström (Easy Action, Shotgun Messiah, Zan Clan & Skintrade). The debut release for the label is the “Heartbreak City” single. “A match made in Heaven,” the band said. “We did shop this album around and we had a few companies that showed interest but after sitting down with the team from Sound Pollution and also adding that we have been talking about doing something together for some time down the line since we’ve known each other for years now seemed like the perfect timing. That and the common view of this whole thing around this album made the choice quite easy.” Contact freeman@free manpromotions.com for more info.

Riley Schmelzer, 19 years old and also known by the moniker No Signal, grew up in a musical home and started to take his art seriously when he was 14.

“That’s when I wrote my first EP and my first album,” Schmelzer says. “The EP was released when I was 15, and then I spent a bunch of time producing, writing and recording the first album. I released that when I was 17, when I deemed it was ready.”

Five years on, Schmelzer struggles to define his own sound.

“I think the whole genre labeling has never been my strong suit,” he says. “I would just go with alternative rock for now, but it evolves. God forbid, any musician or group keeps the same sound throughout their whole discography. But we’ll just go with that–alternative.”

The new No Signal EP is called venus (lower case is deliberate), and Schmelzer recorded and produced the project by himself.

“The way that I go about it is, I’m usually sitting downstairs doing something with friends or doing anything that isn’t music,” he explains. “I’ll have a song that comes into my head, and I put that down in Logic Pro X, the software that I use. The guitar, bass and vocals were all recorded at my house, alone in my basement. For every project before venus, I would do the drums as well, and every other production aspect. But this time around, we headed out to a studio to get an acoustic drum sound for the project.”

As of right now, the artist has only produced his own work, but he thinks it would be a fun task.

“I’ve been alone, doing all this stuff, producing rock and metal music for myself,” he says. “But I still get ideas from all different sorts of genres, and I still experiment with 808s and more hip-hop drum sounds. But I usually never end up using them because the song that I’m writing doesn’t call for it. But I think it would be fantastic to work with another artist.”

Looking ahead, No Signal has huge plans once the EP is out.

“I’m looking for big venue bookers so we can start doing a show,” Schmelzer says. “No Signal has never performed, because we’ve never had to. There’s never been a direct reason other than just wanting to, and sadly in this day and age, wanting to play a show in the rock industry is not good enough. Contact mgowen@ milestonepublicity.com for more info.

Recipient. Aldean has contributed to numerous causes including Atrium Health Navicent Beverly Knight Olsen Children’s Hospital, GA’s Children’s Hospital, Susan G. Komen for the Cure, ACM Lifting Lives, and Red Cross. Contact christy@ aristomedia.com for more info.

tute. “We are proud to partner with the D’Addario Foundation and their ongoing support of the D’Addario Women in Guitar Scholarship and new Women in Drums Scholarship at Musicians Institute,” said Beth Marlis, Vice President at Musicians Institute. “These scholarships are powerful acknowledgments and recognition of the talents of deserving young women musicians at the college level. This kind of opportunity is truly transformative, empowering, and encouraging for young artists by providing support to excel in their music studies.” Contact natalie.morrison@daddario.com for more info.

music NFTs. The deal will, according to a press release, see the company create exclusive NFTs for a range of artists across WMG’s legendary catalog of music content. “Web3 is a massive leap forward in technology: it will expand the scale and scope of both human and machine interactions far beyond what we can imagine today,” said Oana Ruxandra, Chief Digital Officer & EVP, Business Development, Warner Music Group. For more info, contact ctaillie@shorefire.Fans, Creators, and Artist Partne

BRETT CALLWOOD has written about music for two decades, originally for Kerrang!, Classic Rock, Metal Hammer and more in the U.K. He’s the author of two books, about Detroit proto-punks the MC5 and the Stooges. He’s now the music editor at LA Weekly, and has regular bylines in the SF Weekly, Tucson Weekly and idobi Radio, as well as here in Music Connection. He can be reached at brettcallwood@gmail.com

BY GLENN LITWAK

Grammy Award winning rapper Cardi B (legal name: Belcalis Marlenis Almanzar) won over $4 million in a defamation case she filed (in March of 2017) against YouTuber Tasha K (legal name: Latasha Transrina Kebe) and her company, Kebe Studios LLC. The case was filed in federal district court in Georgia, alleging defamation, invasion of privacy and intentional infliction of emotional distress. Tasha K posted almost 40 videos (which had millions of views) on her monetized YouTube channel and she had refused to remove them.

Over a number of years, Tasha K built up 1 million subscribers to her channel and she admitted in the trial that the videos helped. It is a well-known fact that the most popular YouTubers can earn over a million dollars a year.

Tasha K filed a countersuit for assault, and intentional infliction of emotional distress, claiming that Cardi B “began to publicly trash” her online. However, the judge dismissed it.

Cardi B contended that Tasha K waged a “malicious campaign” to “damage and destroy” her reputation with her fans. According to the lawsuit, “Kebe published multiple and defamatory statements about Plaintiff, including that Plaintiff was a prostitute, that Plaintiff was a user of cocaine, that Plaintiff had and still has herpes.”Cardi B also claimed that Tasha K made false statements about her marriage and child. Cardi B denied Tasha K’s claims.

The lawsuit further claimed that “By making and publishing the statements, and campaign of harassing videos, including the Defamatory Videos, Defendants were intending to cause Plaintiff emotional distress.” Cardi B asserted that she “suffered severe humiliations” and “mental anguish.”

One interesting and unusual fact in this case is that Tasha K admitted while testifying at trial that she knew some of her statements were false. She claimed she was a journalist and then admitted in court that she is not. She said she did it to entertain her subscribers and increase traffic to her YouTube channel.

The jury reached its verdict on January 24 and 25, 2022, found Tasha K liable on all three counts and awarded the following damages: • One million in general damages (pain and suffering and/or damage to her reputation); • $1,338,763.47 in costs of suit and attorney’s fees; • Medical Expenses of $250,000 (but all parties agreed to reduce it to $25,000); • And $1.5 million in punitive damages (to punish the defendant and deter such conduct).

Defendant’s attorney has indicated they disagree with the jury’s verdict and intend on appealing the judgment.

Cardi B released a statement:

“These past couple of years have been difficult for me and constantly reliving it. Very hard on me.”

“Thank you to the jurors, you know. The jurors took time off they regular live…and made a very fair and right decision.”

This case is important because it shows courts may impose some restrictions on what people can say on social media with impunity. Hopefully this verdict will discourage others from posting false or misleading content.

GLENN LITWAK is a veteran entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, Grammy winning music producers, hit songwriters, management and production companies, music publishers and independent record labels. Glenn is also a frequent speaker at music industry conferences around the country, such as South by Southwest and the Billboard Music in Film and TV Conference. Email Litwak at gtllaw59@gmail.com or visit glennlitwak.com.

Date Signed: Sept. 12, 2021 Label: Prosthetic Records Type of Music: Grind Booking: elderdevilca@gmail.com Legal: N/A Publicity: Becky Laverty and Wil Collins - Prosthetic Records Web: elderdevil.bandcamp.com A&R: Steve Joh - Prosthetic Records Date Signed: Sept. 27, 2021 Label: Nettwerk Records Type of Music: Indie Folk Management: Julian Deane - Raygun Music Legal: N/A Publicity: Penny Palmer - Nettwerk Records Web: lukesitalsingh.com A&R: Mark Jowett - Nettwerk Records

“Stay cool and be chill with everyone. The scene is a spiderweb, and you can get to know people who are going to start a label or tour.” That’s the advice metal enthusiast and Elder Devil co-founder Jacob Lee provided when breaking down the band’s latest deal with Prosthetic Records, who have signed such acts as Skeletonwitch, All That Remains, Lamb of God, and more. To date, Lee had been a part of several record deals spanning various musical projects. Specifically for Elder Devil, Lee and company had released three full-lengths, supported by various small indie labels all across the globe. Those deals helped to print and distribute a finite number of the group’s music and provide some internet presence. Everything changed, however, when Lee’s frontman noticed Prosthetic Records began following them on Instagram. After completing the band’s upcoming EP, Elder Devil sent it to the label’s A&R department on the advice of a current Prosthetic band named Body Void.

“It was actually really great hearing back from Steve [Joh] from Prosthetic. He was like, ‘Oh yeah, I’ve been meaning to write to you guys!” laughs Lee. Joh expressed how excited he was about their material, and shortly thereafter a record contract started to develop. However, due to most of Elder Devil’s previous agreements coming by way of proverbial handshake, Lee sought advice when signing on the dotted line.

“[Previously,] I signed a contract for my other band HellishForm with Translation Loss Records, so this Prosthetic deal was the second time I had to look over paperwork,” explains Lee. “This deal wasn’t too different. A lot of it was very agreeable.”

They also reached out to Body Void, asking what to expect from a standard deal and help clarify any legal jargon. Upon first draft, Elder Devil were feeling good, but realized they wanted to add an addendum allowing the ability to still put out music with friends. Joh and Prosthetic took no issue with the request, as Lee explains. “They were really cool with providing things and there was nothing that we had to compromise or argue about. It was just like ‘Oh, yeah. I’ll add a couple of clauses for you!’”

While it may seem on paper that Lee and his grindcore act have it all figured out, he expressed the importance of being willing to grow and learn. “Do it because it’s fun. I’m the riff writer, plus I produce and record [our music]. I wish I had focused up and polished those skills sooner.”

The band’s Prosthetic debut will release in 2022. – Andy Mesecher

British Indie Pop/Folk singer-songwriter Luke Sital-Singh’s label and release history is a cautionary tale for any artist who still thinks signing with a major is the ticket to the perfect career. Signed by Parlophone (onetime home of The Beatles) for his 2014 debut album The Fire Inside, he says he got paid a lot but lost artistic control. It was not a great fit and he was quickly dropped from their roster.

After putting out his follow-up Time is a Riddle as a DIY, he continued to build momentum with two more full-lengths, Live at the Union Chapel and A Golden State, released under exclusive license with Raygun Records, a division of his Brighton-based artist-led management company. A few years ago, when the singer was looking for a support act for one of his tours, he hooked up—via their managers, who were friends—with Ben Cramer, whose persona as a recording artist is Old Sea Brigade. The two hit it off and Cramer told Sital-Singh about his solid relationship with Nettwerk Records, which planted a seed that would ultimately come to fruition after the two released the dual EP All The Ways You See in the Dark on the label.

“I kept getting these good reports about what Nettwerk was doing for him,” Sital-Singh says, “and to me, Ben just seemed to have the best of all things from the label. He usually had good budgets for his albums and great tour support. Major labels give you funds, but then take ownership of your creative direction. When you sign with a small indie, you have all the artistic control, but no budget, so things are constrained. From Ben’s experience, Nettwerk was like a halfway house between the two. He made music the way he wanted to, without the struggle for money.”

Sital-Singh views their EP as a trial run to see what the immediately interested Nettwerk was all about, without having to sign away a full album. Though he realized they would be great to work with, and they extended an offer in the wake of his collaboration with Cramer, he didn’t feel signing with them for A Golden State was the right move. “There was always a lot of passion from Mark Jowett,” he says, “and I rejected him once, but when he came back for the new album, I felt it was time. An important point is that they’re committing now also to my back catalog.”

While the details of Sital-Singh’s upcoming album are TBA, Nettwerk has thus far released the lead singles “Me and God” and “Blind Missiles,” whose video was directed by Sacramento area documentary writer, director and cinematographer Joey Katches. – Jonathan Widran

Date Signed: December 2021 Label: Prescription Songs Band Members: Kola Adigun Type of Music: Rap Management: Eighteen Company / SB Projects Publicity: Alexandra Greenberg - agreenberg@falconpublicity.com Web: instagram.com/goodkingkola A&R: Andrea Doman - Prescription Songs

Based in Texas, Kola Adigun first teamed up with producer D.A. Got That Dope (David Lewis “D.A.” Doman) in high school, working on music together in a rap group that D.A. began producing. Adigun moved away for college, but reconnected and started writing hooks with D.A. after graduating. Getting tracks from D.A., Adigun would add his hooks and lyrics, sending responses back through voicemail – which D.A. then turned into demos and started shopping around to publishers. Prescription Songs was paying attention and Adigun flew to Los Angeles to meet with a team of their writers and producers to get acquainted.

Adigun has known Prescription A&R, Andrea Doman since middle school (she is D.A.’s younger sister). “She was one of the early ones that believed that I could make it in this business as a writer,” he says. “If there’s something she isn’t feeling, she’ll be honest about it [and] that was really important in picking which publisher to work with.” While he recognizes not everyone has contacts in the business, Adigun says, “You can always use social media. I still reach out to other producers,” adding that YouTube is a great source of information, and that writers and A&R professionals often post about writing sessions.

Artist development is very important to Prescription and—now signed to a multi-year publishing deal–Adigun is quick to give shout outs to previous collaborators including producers, Vaughn Oliver, Lo Lind and Kenneth “KP” Paige, writers Kaine and Kevo, and singer-songwriter Anthony Watts.

Shares Adigun, “One of the things that was very impressive to me was Rhea [Pasricha], who actually came out to see me. For a Director of A&R to come and see me was very telling - that showed a lot about the leader she is.” Pasricha added, “When Andrea first brought Kola to my attention, I was immediately impressed with his talent and versatility. Meeting him in the studio, I got to witness his unparalleled work ethic and drive. I knew (that) Kola’s abilities – plus Andrea and D.A.’s guidance, alongside our team at Prescription Songs, would be a recipe for success. Very glad to officially welcome him to the family.” – Andrea Beenham

Date Signed: July 28, 2021 Label: Metal Assault Records Band Members: Carson Russell (guitar/vocals), Travis Abbott (guitar/ vocals), Rylie Collingwood (bass/vocals) and Michael Mulcock (drums) Type of Music: Progressive Heavy-Psych Management: Carson Russell Booking: Carson Russell Legal: Andrew Bansal - Metal Assault Publicity: Andrew Bansal at Metal Assault Web: EaldorBealu.bandcamp.com, Facebook.com/EaldorBealu A&R: Andrew Bansal - Metal Assault

For all the strategies on scoring a record deal (attracting massive followings on social media, ponying up for pay-to-play gigs, etc.), sometimes mere kismet does the trick.

Take, Ealdor Bealu (pronounced “elder-blue”), a Boise-based progressive heavy-psych band. In May 2019, Andrew Bansal, owner of Los Angeles’ Metal Assault Records, asked Ealdor Bealu frontman Carson Russell if they would open for his label’s like-minded Solar Haze at their gig in Idaho’s capital.

Russell said the show was fun enough … but when Ealdor Bealu swung through L.A. about a half-year later, and Bansal returned the favor, he tapped them to play a Metal Assault event that Russell called downright “killer.”

“It was one of the best shows of the tour, and we kept in touch [with Bansal] after that,” Russell said during a full-band interview. Later on, “when we were done with the mixes and masters for our new album, I knew [Metal Assault] a little better and what was on [Bansal’s] roster. I was like, ‘I think he’s going to love this.’ And he did.”

So much so that, in July 2021, Metal Assault announced the signing of Ealdor Bealu and reissued their sophomore album, Spirit of the Lonely Places, on CD for the first time. (The group independently released the record on vinyl/digital in 2019, as well as an independent CD/digital release of their debut full-length, Dark Water at the Foot of the Mountain, in 2017.)

Now, Metal Assault is ready to release their third album, Psychic Forms, April 22. “Be Ye Gone”—the first song on the five-track, 40-minute effort—epitomizes the band’s mastery of an expansive, atmospheric sound befitting a hike on a high-desert trail in Boise’s foothills.

“This will be our first album with Mike [Mulcock] on drums,” Russell said. “He came on in February and, shockingly, we were ready to record by April. We clicked immediately, and he’s also a consummate professional. He came in extremely prepared.

“Mike is a drummer,” Russell continued, as Mulcock’s face turned red. “And that’s allowed us to push tempo a little bit, and [bassist/vocalist] Rylie [Collingwood] to really blossom as a bass player.”

Guitarist-vocalist Travis Abbott noted that the new configuration jelled so well, they completed Psychic Forms in four days. – Kurt Orzeck

Now in its 24th year, the Sundance ASCAP Music Café delivers music, sight and sound from new and established artists over four days. Including composer conversations and artist performances from Shungudzo, The John Doe Folk Trio, Brandy Clark, and others, this year’s replays can be found online.

Video replays at: youtube.com/ c/ascap/featured

Kilometre Music Group has partnered with investment firm Barometer Management, forming “Barometer Global Music Royalty Fund,” and is set to spend $200 million on Canadian music catalogs. The team has purchased the full catalog of Murda Beatz, who has produced music for Travis Scott, Nipsey Hussle, Nicki Minaj, and Drake, and has over two million monthly Spotify listeners.

Grammy- and Emmy-nominated singer-songwriter Peter Himmelman joins his son, filmmaker-journalist Isaac Himmelman for the second season of his podcast, The Good Songs, which Isaac launched to reminisce about the songwriting conversations of his childhood.

Each episode focuses on one song (the hosts alternating their favorite selections week-toweek), with Isaac sharing his love and fascination for songwriting and his father delving into the skillset required.

More at: linktr.ee/goodsongs

Growing Swiss fintech company Utopia Music is expanding into physical and digital distribution and has acquired U.K. distributor, Proper Music Group (PMG).

Utopia is now looking to service independent and major labels with physical distribution, sales, manufacturing and digital distribution. PMG provides distribution for giants including AWAL, Believe, Ingrooves and Kartel, Concord and Orchard, and will continue to serve existing customers under Utopia.

Puerto Rican music star Luis Fonsi—best known for his collaborative work with Daddy Yankee on “Despacito”—has sold his publishing catalog to HarbourView Equity Partners (HEP), launched by Sherrese Clarke Soares (previously CEO at Tempo Music). The agreement covers the songwriter and publisher shares on all of Fonsi’s written or co-written work. Sony Music Publishing will continue to administer Fonsi’s catalog.

Wise Music Group has purchased the entire 25-year song catalog of indie Italian publisher, Baby Angel Music (BAM). Owner/ Managing Director, Max Moroldo will continue to own and run Do It Yourself Entertainment and continue as a publishing consultant and Head of A&R to Wise Music Italy. The catalog includes hits, “Freed From Desire” (Gala), shares in “I Know You Want

Me” (Pitbull), “Seek Bromance” (Avicii) and “Occidentali’s Karma” and “Amen” (Francesco Gabbani).

Wise Music Group publisher and imprint partnerships include: Chester Music, Associated Music Publishers, Le Chant du Mont, Bosworth Music GmbH, and others, and represents nearly 100 of todays’ most successful living composers and songwriters–including Ólafur Arnalds, Samuel Barber, Ludovico Einaudi, Philip Glass, Missy Mazzoli, Igor Stravinsky, Jean Sibelius, Joby Talbot, and more.

To learn more about royalties and music licensing, you can check out The Mechanical Licensing Collective (MLC)’s on-demand recorded webinars. Recordings are available to prospective and active members, and cover topics including increasing royalty payments, self-administration tips, metadata, song registration, and Q&A sessions on a variety of topics. More at: bit.ly/TheMLConDemand

Expanding into Iceland, Universal Music Group (UMG)’s marketing and distribution company, Ingrooves Music Group has acquired Alda Music. As Iceland’s leading distributor and record label, the partnership provides an opportunity to help local artists move onto the world stage. CEO Sölvi Blöndal will lead the team based in Reykjavik, and will work to nurture the local music scene and build global opportunities for Iceland’s artists.

Backed by Blackstone Inc. via acquisition money held in the private Hipgnosis Songs Capital fund, Hipgnosis Songs Management (HSM) has struck an 80% acquisition of Kenny Chesney’s recording royalties, covering his music from 1994 through 2017, future Greatest Hits, live or acoustic albums, and full SoundExchange (U.S.) and Neighboring Rights royalties for Chesney’s entire catalog, and will continue to manage the rights and income streams on behalf of Hipgnosis Songs Fund.

Primary Wave Music (PWM) has acquired an increased stake in Def Leppard’s catalog, in addition to master royalties. This comes on the heels of their $20 million share acquisition of singer-songwriter- instrumentalist, Paul Rodger’s publishing catalog and master recording income streams for his time with Free and Bad Company and a further $40 million invested in Gerry Beckley and Dewey Bunnell’s music catalogs and certain name and likeness rights from the band America.

ANDREA BEENHAM (aka Drea Jo) is a freelance writer and marketing consultant based in Southern California. The South-African born, Canadianraised California transplant has a passion for music, people and fun. She can be reached at drea@dreajo.com