Exec Profile: Lola Plaku, Lola Media Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By Andy Kaufmann

Lola Media Group Founder & CEO Years with Company: 5 Phone: 647-370-5914 Web: lolamediagroup.com E-mail: hello@beagirlconnected.com Clients: Belly, Nav, Amaal

Lola Plaku had to figure out the music industry on her own. Now that she has 15 years of industry experience under her belt, she’s helping other women get in with the sort of assistance she wishes she had. Girl Connected is a unique mentorship program that connects applicants with active players. Recently, the Canadian-based nonprofit began accepting applications from Americans.

I founded Girl Connected about two years ago. I have worked in the music industry for over 15 years. I had to learn everything myself. Girl Connected is figuring out a way to combine women who want to work in the music business with people who have experience, to work alongside them and be able to apply that to future opportunities.

I started off being a journalist. I wish I had been able to navigate that world better in terms of the right way to conduct an interview, do research or pitch to publications. When I wanted to get into other magazines, I was always turned down because I didn’t know how to pitch. From there, I went into concert production. And that was just me figuring it out by myself.

The application process is fairly easy. For the past two years, we’ve only been available to mentees in Canada. We are partially funded by Factor, which is a government program, so we opened [there]. This year, we opened to mentees in the U.S. We noticed there were a lot of inquiries from the U.S. and job opportunities for us to place graduates.

Applications stay open for about four to five weeks. Applicants have to have a resume, recommendation letter, and headshot, and then answer several questions. We cater it based on the programming we offer. The first year, we had an essay where you explain the job you want and what you think that job is. This year, we broke it into smaller questions, so they’re more to the point, giving them a chance to give us bullet points instead of writing longer essays. We ask for references to their work, if they have any. Their social media accounts, so we can see their overall profile. And then we review it. We’ll consider the mentees based on what they’re applying to do, their experience, their goals.

We’ve had a ton of applications from the U.S. I thought New York and L.A. were where I was going to get applications from. Instead, it was everywhere—Texas, Florida, Ohio… The next step for Girl Connected is to have a full mentorship program in the U.S. And then after that, London.

It’s difficult in the beginning. Everybody is nervous and scared. Somebody will ask a question and another mentee will be like, “I have a question, too.” We encourage everybody to ask a ton of questions.

No matter how hard I worked, nobody said, “You’d be amazing as a management executive at this company.” It was more like, “Oh, that’s a great job.” And that’s about it. We look at [the mentees’] work and say, “You would kill it here. Let’s see if we can call somebody and do that.” We had a mentee who’s managing an artist called Idman. She was just part of the team, not management. She was like, “Oh, I’m just on the team.” And we were like, “You’re doing management, though. Own it. That’s what you do.” I was able to get her an internship at a studio in LA. She never even imagined that would be her life. I love that. “Identify what you’re passionate about If anybody has opportunities in the music business and is looking for applicants, we would love to send some and what your goals are. It will really help of our graduates that might be a good fit. We welcome any openings. you create a career.” Relationship Building Building relationships is one of the biggest questions. “How do I start these

There’s a huge music community in London, and I would love to be able to contribute to growing women in music in the U.K. relationships and maintain them?” Most people are afraid to go up to somebody and say, “Hey, I love what you do. I’d love to connect,” out of fear of being shut down or ignored. Hopefully,

From Workshops to Assignments When we first conceptualized [Girl Connected], we envisioned workshop-type sessions. The through this program, they build the confidence to believe enough in themselves to say, “I’d love to go for coffee,” or, “I love what you do.” idea was to create these workshops where mentees would be grouped with other mentees with the same interests, connect with a mentor, and get advice. We ended up making it assignment-based. Mentors She Knows I started with people I’ve worked with and know are experienced. I know they’re willing to work with the mentees. The first year, we had Adam Zia, who is an attorney; Krysten Price who was

Mentee Tasks This year, the mentees’ first project is to do research. They have to compile a sheet of peers in the industry. The research process is about three months. Their only job is to put this sheet together. Throughout those three months, they attend internal workshops. We do two workshops a month with professionals in their fields, as well as the instructors we’ve picked for the year. After those three months, the mentees in artist development have to deliver a five-song EP from an artist they’re working with. The at Complex Networks on the talent side; Nicole Wyskoarko, the VP at Geffen/Interscope; and Riggs Morales, the VP of A&R at Atlantic. I’ve worked with all these people. They’re the first group I went to and said, “I’m doing this program.” Riggs was like, “When you start Girl Connected, let me know.” Same thing with Adam. Those are the types of individuals I look into. Last year, we had Lenny Santiago and Bianca Edwards from Roc Nation, Tone Lopez on the tour management side, and Ashley Kalmanowitz from Atlantic on the publicity side. Again, they’re individuals I’ve worked with for a long time. songs don’t have to be mixed or mastered, but they have to have audio files and all the paperwork that goes with it—lyrics, split sheets, agreements, track listings, artwork, artwork agreements, everything you would need if you were delivering an EP in the real world. They have three months to put that together. For the mentees in artist marketing, their goal is to work on an artist rollout. We want to see how their minds work in developing a Mentees Come First The mentors are not picked until we receive all the applications. We want to make sure we are finding the right people that can help the mentees reach their goals. We create a shortlist of people we want to approach. Once we receive the applications, we go through them and see who’s interested in participating. If anybody wants to be a mentor, email us. rollout plan. They attend workshops throughout the process. We meet at least once a week to give as much guidance as possible. We review these projects and give feedback. After that, we put them in a group to create a marketing plan for one of the EPs that was delivered. Then, they present that plan to a group of peers from the music industry. Stay Focused [Becoming part of the music industry is] scary, but don’t worry. Just do your best and be consistent. Have clearly defined goals. It’s a challenge when you want to get in but you don’t know what you want to do. Identify what you’re passionate about and what your goals are. It will really help you create a career.

Marketing. As a Music Analytics and Strategy Manager, your responsibilities are to uncover and understand the issues facing the Global Music industry and YouTube users, then work with cross-functional teams to find solutions, transform their business, and bring intelligence into their analytics products. You will work with their Product, Engineering, and UX analytics team to build YouTube Analytics roadmap, design Go-toMarket plans and growth strategies to make their tools better. Apply at Fox8 LocalJobs.

This role interfaces closely with both labels and other production teams to work toward the central goal of releasing content be it singles, albums, preorders, videos, and more. In addition to having a front-row seat to the creative side, this role also has visibility and engagement in the newest technology for music consumption; Foster relationships with label partners, guide them through new release process, advise labels on release standards, respond to inquiries and special requests. Apply at ZipRecruiter.

Strategy. Are you a detail oriented, innovative and flexible team player who would thrive in an everchanging company landscape? Join this team and provide forward thinking support to three VPs of Creative Music Strategy while ensuring smoothly run schedules and travel management. This role is instrumental in supporting the overall goals of the department both internally and externally Must possess exemplary interpersonal skills with a poised, polished, and friendly attitude. Apply at Jobs Trabajo.org.

Coordinator. A Coordinator is responsible for performing a variety of tasks as assigned by their agent to service clients throughout the booking process. This position will be based in the L.A. office. Roles and Responsibilities: Lead communication internally/externally around availability; Work with talent buyers to get offers and put in holds; Oversee assistant data entry and manage offers in the booking system; Issue formal offer confirmations; Coordinate event and booking details between agents and talent buyers. Apply at Workable.

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

Universal Arabic Music. His first single for the label is “Saudi Most Wanted.” The song was written, recorded and produced by $kinny, as he writes lyrics inspired by his Saudi Arabian roots. “Coming from two totally different cultures,

I want to bring something fresh to hip hop and show the world that I can bridge the gap musically,” $kinny says. Contact Nicole.Hajjar@ umusic.com for more info.

to Astralwerks. Hill has celebrated by teaming up with Galantis for the single “Run.” “I’m so excited to release ‘Run’ with Galantis,” says Hill. “I wrote it with my best friend MNEK, whom I’ve been writing with for 10 years. The magic I felt when we first wrote my single ‘Losing’ back in 2012, I still feel to this day when writing with him. I feel like every single I release has the potential to better the last one and this is no different, especially with Galantis featuring on the record, too.” Contact nicole.crystal@ umusic.com for more info.

Fresco’s first release for the label is the “Need You” video. “Fresco Trey is a naturally instinctive songwriter, with an unbelievable sense for melody and lyric, finding the most memorable ways to rap and sing about universally

Tom Cridland started writing and performing his own music after he quit drinking in 2017, initially with his group the Tomicks, but more recently as a solo artist. He describes his sound as a poppy blend of rock, soul and disco, and he’s just completed a tour with Philadelphia soul legends the Stylistics. To date, he’s released 107 recordings, and things are going pretty well.

He’s also been out on tour performing the music of Elton John because, he says, Elton saved his life.

“I first became an Elton John fan in 2010,” Cridland says. “It was the soundtrack for me and my girlfriend (who is also my manager), Deborah, falling in love. His music has been there for me in the good times of celebration and in my lowest moments. When giving up alcohol the performing of his songs, especially as I learnt to play piano during lockdown, has been the saving grace that allowed me to stay sober. I am approaching five years without having a drink, having got to quite a dark place with my binge drinking, and I would give Elton a lot of credit, not just his and Bernie’s wonderful songs but also the example that he has long set as a clean rock star.”

Cridland has been taking Elton John’s music to all 52 states on tour, an experience that he says has been wonderful.

“This country has the richest popular music heritage and that is what makes it such a pleasure to travel all over the states, along with the friendliness

of the American people who are so kind with their reception of my performances,” he says. “I’ve been listening to Johnny Cash in Nashville, to Elvis in Memphis, to Robert Johnson in Clarksdale, to Gamble & Huff records in Philadelphia, to Leon Russell in Oklahoma and Fats Domino in New Orleans. Every place you go has this unique history and that is what makes the U.S. so special.”

Cridland plans to spend 2022 recording an EP of Philadelphia soul music, an album to analogue tape at Sun Studio in Memphis with his trio, touring his Elton John tribute show and launching his new Tom Cridland clothing collection, along with his Greatest Music of All Time podcast. He never rests.

Contact tom@tomcridland.com.

shared experiences,” says Aaron Bay-Schuck, co-Chairman & CEO, Warner Records. “Equally as important, he comes to us with unwavering authenticity, commitment, and dedication to his music and he’s proven that he knows exactly how to forge a direct and honest connection with his fans.” Contact yashar.zadeh@ warnerrecords.com for more info.

in February. The museum was inaugurated by H.R.H Prince Carl Philip and H.R.H Princess Sofia. Other participants were curator Ingmarie Halling, Content Producer Lisa Halling-Aadland and Per Sundin, CEO Pophouse Entertainment. Avicii Experience is an emotional tribute museum honoring one of the true icons of modern dance music and popular culture: Tim Bergling, Avicii. For further information go to: aviciiexperience.com.

Entertainment Awards. Music journalist Jem Aswad of Variety won “Online Journalist of the Year,” for 2021-2022, while A.D. Amorosi of the same publication won “Music Critic of the Year.” Yours truly won first place for “Music Feature— Online.” Go to lapressclub.org for the full list of winners.

awardees. They include Esperanza Spalding, Wayne Shorter, Georgia Anne Muldrow, Bobby McFerrin, Lizz Wright, Mary Halvorson and more. For more info, contact gjakubik@ shorefire.com.

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

On February 18, 2022 rapper Megan thee Stallion sued her old independent record label, 1501 Certified Entertainment, contending that it mischaracterized her latest album as a mixtape rather than an album. The reason 1501 wants the music classified as an album is that mixtapes don’t satisfy the “minimum, recording commitment” in her recording contract. Thus, if 1501 wins, she would still owe them another album.

By way of background, exclusive recording artist agreements with major labels have a minimum recording commitment so they can hold onto successful artists. The typical recording contract will have an initial contract period for an album and a number of “options” (sometimes four or more) for additional albums. The label usually can drop an artist whenever they want. After delivery of an album, the label can exercise one of its options and then the artist is contractually obligated to deliver another album. Artists sometimes say they want a one-album contract with a label, but that’s not what major labels have traditionally agreed to. with the contract terms, which are clear and unambiguous. Accordingly, (Megan) seeks a declaratory judgment that, among other things, declares her album, Something for the Hotties, constitutes an ‘album under the terms of the contract.’” Megan is also seeking an award of her attorney fees.

Megan had filed another lawsuit in 2020 against 1501, alleging it was refusing to allow

her to release music. Megan renegotiated her deal with 1501 in 2021 after obtaining a restraining order against 1501 and its owner, Carl Crawford.

Megan has also claimed that she did not know what was in her recording contract until she retained management with Roc Nation. Of course, an artist should read and understand a contract before it is signed, and retain a music attorney. Major label recording contracts are notoriously long and complex, so competent representation is extremely important. Usually, a claim by an artist that they did not understand the contract when they signed it will not fly in court, unless there is evidence of duress or other extenuating circumstances.

Megan posted a statement on Instagram, which states in part that “I ain’t never been paid from 1501 in my life. I make money bc im (sic) Megan thee Stallion!” However, since the current lawsuit for declaratory relief does not request damages for 1501’s alleged failure to pay her, it does not appear this will be relevant in the litigation. “Major label recording contracts are notoriously long and complex.”

Megan thee Stallion asserts that her recording contract declares any music she delivers totaling 45 minutes or longer constitutes an album, and her Something for the Hotties submission is over 45 minutes long. Her lawyers state that 1501 did not notify her that it considered the latest music she delivered to be a mixtape until two months after its release. She claims this shows 1501’s position is frivolous.

The lawsuit alleges:

“1501 wants to tie (Megan) down to release more albums under the contract to the financial benefit of 1501...This is inconsistent

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.

THE ATTIRE Dates Signed: December 2018 (Arthouse Records); December 2020 GAYLE Date Signed: June 17, 2021 (Atlantic Records) Label: BMG Label: Atlantic Records/Arthouse Records Band Members: Greg Shilling and Stephen Santa Teresa Type of Music: Alternative/Pop Type of Music: Pop Management: Kristina Russo Management: Andrea Torchia and Brian Kierulf Booking: Matthew Morgan and Marissa Smith - UTA Legal: Scoff Felcher - Felcher & Freifeld, LLP Legal: Taylor Guttman Publicity: Amanda Blide - TREND PR Publicity: Christina Kotsamanidis - Atlantic Records Marketing: Steve Sherr Web: gayleofficial.com Web: theattiremusic.com A&R: Kara DioGuardi - Arthouse Records, Pete Ganbarg - Atlantic A&R: Monti Olson Records

Greg Shilling and Stephen Santa Teresa met in Washingtonville, NY, when they were in middle school and eventually formed a band when they were in eighth grade. Shilling jokes that Santa Teresa was his first A&R person, because he auditioned Shilling in the school hallway.

“I sang the Beatles’ ‘Let it Be’ and he let me join the band,” Shilling says. “Steve and I continued and the other members dropped out. We’ve continued making music together since that time. We were doing Youtube covers and all that stuff, and we just decided that we wanted to do pop-soul, and R&B. We’ve had fun ever since.”

The pair describe their sound as a modern spin on Hall & Oates and the Bee Gees. Pop-based, blue-eyed soul. They’re creating it in L.A. now, which is a long way from their small hometown, 40 miles outside of Manhattan.

“Interestingly enough, there’s absolutely no scene in Washingtonville,” says Shilling. “It is the quietest, most sleepy town ever. It’s two miles long, and small town vibes all day. Stephen and I have always traveled to N.Y.C., and we fell in love with L.A. and moved to L.A. But what we really appreciated about our town is that it’s very supportive. Especially our teachers.”

Forty miles is a long way when you’re a child. But when they got their driver’s licenses in their teens, they spent many a night exploring the City.

“That’s eventually how we met a lot of up-and-coming songwriters, and that’s how we developed our craft as songwriters, as well,” says Santa Teresa. “Having sessions with songwriters.”

“One handshake led to another, and we met all these amazing people who worked in the industry, both songwriters, producers, A&R people, journalists, anybody and everybody we were thrilled to meet,” adds Shilling. “It just goes to show how vastly connected the music industry is. We came from such a small town, but we met one person who led to another and now we’re here.”

Eventually, the Attire would get signed to BMG Records, and they feel honored to call such an historic label their home.

“Every connection leads to a new connection, but it’s about the opportunity that the connection brings and what you have to offer that connection,” says Shilling. “Stephen and I were very grateful that throughout each connection, we learned something. As we learned we developed, and as we developed we brought better music each time.”

That’s all culminated in new album Songs About Girls Like You, out in April. – Brett Callwood If there is any doubt that persistence, hard work and a certain singlemindedness are key ingredients to achieving your goals, Atlantic recording artist Gayle will tell you otherwise. Like many young girls, Gayle dreamt of becoming a singer since the age of seven, and like many, she didn’t have the slightest idea of how to get there. Inspired by Aretha Franklin, Gayle not only wanted to be a recording artist, but specifically wanted to be an Atlantic Records recording artist. Putting one foot in front of the other, she kept finding ways to sing anywhere she could; restaurants, malls and, being a native Texan, even rodeos.

A turning point for Gayle came when she got involved with the afterschool program “Notes For Notes,” which offered access to quality instruments and a studio setting where young people could write songs and record themselves with the freedom to express whatever they felt with no creative barriers.

At 14, Gayle began making frequent trips from her home in Texas, to Nashville, participating in many writer- in-the-round events, striking up co-writer relationships. She also participated in pop-up performing opportunities in her genre.

Impressed with the authenticity in her songwriting and vocal chops, Gayle caught the eye of former American Idol judge and Grammynominated songwriter Kara DioGuardi, who eventually signed her to a publishing and artist development deal with her company, Arthouse Entertainment.

Unbeknownst to Gayle, DioGuardi was sending her songs to Atlantic over a two-year period. She was officially signed to the label in 2020.

As far as her deal goes, Gayle says she has a great team that supports her emotionally and financially with advance money as well as money for photo shoots and touring.

Gayle’s advice to those who are seeking record deals: “Do everything you can along the way toward that end goal. Break it down into smaller steps. What matters is moving forward.”

The artist is currently working on her Atlantic Records debut release at the ripe old age of 17. Her first single “abcdefu” has surpassed 14 million streams. – Ellen Woloshin

Date Signed: Jan. 28, 2022 Label: Warner Records Type of Music: Country Management: Charly Salvatore - Underscore Works - charly@ underscore.works Booking: Jeff Krones, Bobby Cory & Darin Murphy - CAA Nashville, jeff. krones@caa.com Legal: Atticus George Carroll - Warner Records, Christian Barker - cbarker@shakelford.law Publicity: Rick Gershon - rick.gershon@warnerrecords.com Web: warrenzeiders.com A&R: Isaac Green

Country star Warren Zeiders was merely a college athlete when his social media postings began going viral. As an extrovert in the age of COVID, he’d felt the urge to get online. He believes the genuine rapport he built with his audience was unshakeable because there was no pretense or motive other than sharing his artistry. Suddenly, the young songwriter had hundreds of millions of TikTok views. This spurred a self-released EP, sales of which forced the industry to take notice.

Although he hadn’t been looking for fame or even a career in music, that’s precisely the opportunity that came his way. He had to think closely about whether he wanted to follow such a path. The 22-year-old met with a host of interested labels, including Republic and Capitol.

Warner Records reached out to Zeiders’ manager, Charly Salvatore.

“He’s had an incredible influence on me,” praises the Hershey, PA native. He took Salvatore’s suggestion to visit the label seriously.

The moment Zeiders walked into Warner’s offices, he felt comfortable. CEO Aaron Bay-Shuck and president Tom Corson immediately clicked with his vision. “It was super important to me to build a connection with the people that run the label,” reveals the “Ride the Lighting” singer. “They had a true passion for what I was doing. That’s something I wanted to see.” In a nutshell, his decision came down to gut instinct.

Though this is his first signing, Zeiders has no doubts he made the right choice. What matters to him most is that he has the ability to create music he can “hang his hat on.” “I’m truly grateful to have this position,” he unpretentiously utters, “and looking forward to the future.”

Zeiders’ most recent single, “Dark Night,” was released in March. Expect another single and possibly a second EP before long.

Date Signed: May 6, 2021 Label: Strolling Bones Records Type of Music: Indie Rock Management: Leigh Rixley - Strolling Bones Records Publicity: Missing Piece Group Web: facebook.com/todycastillomusic A&R: George Fontaine Sr. - Strolling Bones Records

Texas singer-songwriter Tody Castillo started out in this music game in 1994—a full 28 years ago. It’s taken him that long to finally get a break, but he isn’t complaining.

“1994 is when the idea hit me and that’s when I was like, ‘Okay, this is what I’m gonna do,’” he says. “I put my first cassette tape out—it was a five-song EP—in 1996. I don’t feel old, but I think in the music world that may be considered old.”

Castillo has a sound that he considers a blend of folk and rock, due to his tendency to fingerpick on an acoustic guitar, but then rock out on an electric too. No Dylan “Judas” moments here—Castillo’s sound is all by design.

“I like guys like Townes Van Zandt and those singer-songwriter type dudes and gals,” he says. “I like that fingerpicking element. I also love Tom Petty & the Heartbreakers, and that pure rock & roll sound, too, where there’s a song in there. It’s like a pop song, but with real instruments and great tone.”

Castillo grew up listening to Motown, country, James Taylor and Paul Simon, but later discovered Ratt, the Scorpions and Iron Maiden. But always, the song was the priority.

“Even some of that hair metal stuff—they were pop songs with Marshall stacks,” he says. “So the sound is that. Rock & roll, with a folk element, and an acoustic edge to it. It’s singer-songwriter stuff, with half electric and half acoustic.”

After two full-length self-releases, Castillo finally landed a deal, with Strolling Bones Records, for third album Old Rodriguez.

“I’ve done everything else on my own,” he says. “I have a couple of EPs and two full-lengths. My dream the whole time, right when I started, was to get signed to a label so that they can help with this release. But it didn’t happen until now. What I found is, the benefits are really obvious. They’re printing vinyl, they’re putting out CDs, they have a great media campaign. It takes an incredible amount of resources to properly push an artist, with the radio, the PR, the production of the actual product. So, it’s been a dream.”

The album was recorded over a few years, mostly in Houston with producer Steve Christensen (Steve Earle, Khruangbin).

“He has gone on to do some really great things,” says Castillo. “He’s recorded all three of my full-lengths, by the way, so it’s a nice partnership that we’ve formed over the years. He won a Grammy for doing the Townes Van Zandt cover record for Steve Earle.” – Brett Callwood

The 2021 financials are in and ASCAP hit a new high with $1.335 billion in revenue and distribution for songwriters and composers. The main increases were around streaming and audio-visuals, with $42.5 million over 2020. This is the first time U.S.-licensed performance revenue has surpassed $1 billion. $1,254 billion in distribution was made available to 850,000 songwriter, composer and publisher members in 2021, with domestic distributions up $22 million (2.4%) from 2020.

ASCAP expanded their Symphonic, Recital and Educational distribution to add support for the loss of performance income. See ascap.com/annualreport.

New artist YouTube series Giants is a platform presented by Moog Music Inc. for legendary electronic musicians and innovators to share stories of the history and culture of electronic music and the contributions that have pushed the genre and industry forward. Contributors include pioneering synth and analog instrumentalists that have helped shift electronic sound into the mainstream.

Guests on the series include synthesizer adopter Bernie Krause, modular synth legend Suzanne Ciani, Mute Records Founder Daniel Miller, and, on the heels of his 90th birthday, Moog Synthesizer co-inventor Herb Deutsch. Each of them share their inspiration, insights and previously-unheard learnings about the evolution of electronic sound.

Prescription Songs recently hosted a 5-day writing camp in conjunction with singersongwriter-actress, Taylor Monét Parks, best known for co-writes on “Love Lies” (Khalid/Normani), “Thank U, Next” (Ariana Grande) and “High Hopes” (Panic! at the Disco). With burnout being a common occurrence for artists, the event focused on connecting and exploring activities outside of the usual writing session, with each day split into two sessions: one to play, and one to create. “Play” sessions focused on mental wellness and included crystal and chakra teachings and sound baths, group meditations, pottery classes, and a drawing workshop. The event also included group mixers and a wrap-up listening party.

Hipgnosis Song Management has acquired ownership rights to Leonard Cohen’s entire song catalog, encompassing Cohen’s songwriter share of all 278 of his songs—including his most recognized song, “Hallelujah.” The purchase of his catalog is split into two parts, with Cohen’s writing up to 2000, leaving Hipgnosis 100% owner of the songwriter share (since Cohen worked alone), and Sony Music Publishing retaining ownership of the publisher’s share. The second half of the purchase includes works from 2001-2016 (67 songs) and gives Hipgnosis 100% of publisher and songwriter shares.

The acquisition was funded by the Hipgnosis Songs Capital ICAV joint fund with Blackstone LLP.

Performing Songwriter Creative Workshops have limited space available in their upcoming 3-day Jonatha Brooke and Gretchen Peters Nashville songwriter sessions. Limited to 15 participants, the workshops offer participants new ways to delve into their songs and find inspiration to deliver a more compelling story, while balancing the art and crafts of songwriting.

More at: performingsongwriter. com/creative-workshops.

The California Copyright Collective (CCC) is hosting a session: “Creative Deal Making for Recorded Music and Score” on May 10 at Catalina Jazz Club. An expert panel will discuss publisher and composer deals, agreements from the artist’s perspective, legal pitfalls, negotiating favorable contracts, best practices and ethical concerns.

More at: theccc.org/events.

Raleigh Music Publishing has announced the signing of Platinum record artist and producer Tarro to a multi-year music publishing deal. David James Ramos p.k.a. Tarro, 24, has built a name for himself finding inspiration in the limitless possibilities of electronically generated sound.

Audiences may recognize Tarro from his collaborative work, such as high-profile remixes for blackbear, THEY. and Tinashe, while his catalog of original solo releases command attention in their own right.

Grammy-winning songwriter Jordan Reynolds and co-founder Nick Burnett have launched Hit Ranch, a Nashville-based catalog brokerage firm to help songwriters with their catalog sales. Following the recent sale of Reynolds’ own catalog to Warner Chappell Music (including co-writes with Dan + Shay, Lady A, Camilla Cabello, LANY, Thomas Rhett, Carrie Underwood and Keith Urban), his experience inspired him to provide a simple, lower fee option for artists considering selling their catalog.

More at: info@TheHitRanch.com.

BMG has teamed up with Fuipacific Music to purchase catalog interests from the Estate of blues singer-songwriter-guitarist John Lee Hooker. The acquisition covers hits “Boom Boom,” “One Bourbon, One Scotch, One Beer,” and “Boogie Chillen,” all recorded and performance royalty income, and a selection of his recording catalog from 1980–2020.

ANDREA BEENHAM (aka Drea Jo) is a SoCal-based writer, artist advocate, and consultant who helps artists, songwriters, and composers break through barriers to reach career heights. Press outreach, bios, branding and EPK’s: she shares her invaluable expertise for both established and ascending music creators. She can be reached at drea@dreajo.com.