The Ibiza venue had been open less than a year.

Ushuaïa took third. Hï took fourth.

All 3 sit inside The Night League, the Ibiza company founded and owned by Yann Pissenem.

Weeks later the International Music Summit gave Yann its Legends Award.

One vote from the public, one from the industry.

In 2017 I interviewed him on the Ushuaïa roof for Billboard Magazine.

Space, the most famous club in the world for a decade, had just closed.

Nobody knew what would replace it.

The answer turned out to be Hï.

Yann told me:

“Not everywhere is Ibiza. So it’s a model that is going to be really really complicated to replicate.”

This week he and his co-founder Sam Sparrow launched The Ideation Bureau, an agency selling the thinking behind those rooms to everyone else.

Most brands have 3 ways into music.

1. Sponsor the night.

2. Borrow the audience.

3. Build something people come back to.

The Night League has spent 15 years proving the third option.

It owns the rooms, the formats, the footage and the route back to the next ticket.

Now Yann has put the thinking behind it up for sale.

Welcome to Signal + Flow, where we follow how music and culture turn attention into money, leverage and ownership.

🔑 If you run a venue, build artist worlds, book events, manage brand budgets or create moments people gather around, these 8 standards are worth studying.

🎛️ ONE [EVERY ROOM SELLS ITS OWN TICKET]

Most venues run the second room as a feeder. Yann refuses.

He has said he does not want it becoming an appendix of the main room, or a home for leftovers from the roster.

The cost shows up at 2am. The main headliner starts, the second room empties, and you are running a fully staffed space with nobody in it.

So the Martinez Brothers hold the Theatre at Hï while Paco Osuna holds the Club, and both are full at the same time.

🔑Book the second room for someone who would turn up for it alone. If nobody would, shut it and focus the budget on the main room.

🏝️ TWO [ONE SENTENCE PER VENUE]

Ushuaïa is open air, daytime, festival scale. Hï is night, tighter, more underground. UNVRS is arena capacity with nightclub feel.

Yann sees them as opposites by design. Each venue is stronger because it is not trying to be the other.

The separation runs on time of day, capacity, crowd age, and how produced the show is.

A visitor on a 7-night holiday can spend 3 of those nights with the same operator. Every other venue on the island competes for what is left.

🔑 Write down the ticket price, start time and dress code for every night you run. If two nights share all 3, you are selling the same night twice and splitting your own crowd.

🎭 THREE [NAME THE NIGHT BEFORE YOU BOOK IT]

Hï, Ushuaia and UNVRS run named residencies.

Each has its own artwork, residents, sound and production language.

He was doing this in 2017 and he told me so:

“I created ANTS, I created BIG, which is the party for David Guetta. Then I created Blue also. So we’re trying to create brand, create the marketing around it, to have a full complete experience.”

A booking is a date. A format is an object, and it survives a cancellation.

If there is no object, there is no memory.

🔑 Give the night a name, artwork and a resident before you book a single guest. Then take the headliner off the poster and see whether it still sells.

🎚️ FOUR [PROGRAMME THE ARC, NOT THE LINEUP]

Ushuaïa began as an arc nobody was serving. Yann came to Ibiza looking for open-air parties and found 4 legendary nightclubs, all working after dark.

His gap was a crowd nobody programmed for:

“older crowd which are coming to the island, which love electronic music but not necessarily want to wait till 5am to see their big superstar DJ in the club.”

He found the audience first and the site second.

The same question runs inside a single night. A room has a shape. Arrival, build, peak, release, close. The line-up is raw material. The arc is the product.

At UNVRS that shape is built by Romain Pissenem, Yann’s brother, through High Scream. He is why the room evolves across a night instead of holding one look from doors to close.

High Scream does not only work in clubs. It produced David Guetta’s 3 sold-out nights at the Stade de France, co-produced the Ballon d’Or, and lit the Statue of Liberty for Michael Canitrot’s Monumental Tour.

That is the level of production sitting behind a Tuesday in Ibiza.

🔑 Decide what the room should feel like at 1am, 3am and 5am before you book anybody. Then hire for each of those slots instead of spending the whole budget on the biggest name you can afford.

🎬 FIVE [EVERY CLIP NEEDS A DESTINATION]

Announcements sell the date. Clips carry the night into feeds while it is happening. Recorded sets keep the venue visible afterwards, and the archive restarts the cycle next season.

Each piece connects to a named resident, a venue, a date and a ticket page.

The team behind it is why this works.

The Night League runs its own team of elite shooters and editors, and clips often go out while the set is still playing, not the next morning.

Most venues call one after-movie, weeks late, a content strategy. This is what a real one looks like.

Some of it happens outside the building.

Last summer I watched MEDUZA play in an Italian pizzeria in Ibiza, part of Hï’s guerrilla series. HUGEL played a supermarket. James Hype recorded in a gym.

Hï, Ushuaïa and UNVRS do not disappear when the lights come on.

Their YouTube channels, Instagram clips and TikTok edits keep the rooms in people’s feeds all year round.

🔑 Hand your shooters a shot list before doors open: the 3 moments you need, the resident’s face, and the room at peak. Brief them on what each clip is selling, or you get 50 hans in the air videos, and nothing you can attach a ticket link to.

🔐 SIX [OWN WHAT YOU BUILD]

Yann created ANTS. The Night League owns it, and it plays cities and festivals a long way from Ushuaïa.

Glitterbox is the other version. Defected owns the name, Hï hosts it in Ibiza, and it tours under the same name everywhere else.

Either way somebody owns the format, which is why it can move.

🔑 Register the name and own the artwork for any night you create, before the first poster goes out. If you cannot take it to another venue next year, you do not own it.

💰 SEVEN [EVERY SPONSOR IS BUYING ONE OF THREE THINGS]

Every brand partnership should know which job it is doing.

1. Revenue sells something.

2. Recognition changes how the brand is seen.

3. Recruitment brings a new audience into the brand’s world.

Palm Angels bought recognition through Hï. A pouring deal buys revenue. A brand chasing younger consumers is buying recruitment.

W1 Curates shows what happens when the relationship goes deeper than a logo.

Led by Mark Dale, W1 Curates has built a reputation for giving digital artists scale through public screens, building facades and cultural spaces.

W1 Curates has worked with The Night League before. At UNVRS, digital art becomes part of the building itself.

The next Culture Collective weekend runs 11-13 September, with music, art, fashion, private drops and rare events across the weekend.

A partnership designed before the doors existed does not look like sponsorship, because it isn’t.

Brands connect to culture when they know what they came for. A clear objective goes further than a bigger budget.

🔑 Ask what the sponsor needs to take back to the business, and build it into the night before doors open. Give them one moment worth reporting internally and the one-off becomes a season.

🌅 WHEN THE ISLAND TRAVELS [CAFÉ DEL MAR TO PHUKET]

Café del Mar has been running this experiment for 4 decades.

It opened in Sant Antoni in 1980, where José Padilla soundtracked the sunset. The first compilation arrived 14 years later and carried the mood to people who had never been.

The sunset happened once a night. The series earned for decades.

10 locations worldwide now, and a new beach club that opened in July on Georgia’s Black Sea coast.

I follow Café del Mar Phuket closely because it’s close to where I live.

It originally opened on Kamala Beach in 2017 and has climbed from No.70 in DJ Mag’s 2024 poll to No.37 early this year.

Carl Cox, Rampa, Bonobo and Dixon have played. Peggy Gou returned in January after selling out her first gig.

Mr Sour curates the music. Residents like Hebdonis and Eli Cicada have played that room hundreds of times.

They know what lands at sunset and what lands at 1am, which records the floor keeps coming back to, and when to leave a track alone.

That reading only comes from repetition, and it is the part of a club nobody can book.

Guests spike a weekend. Residents build the room that guests want to play.

🔑 Pay your residents to hold nights, not to fill the gaps between guests. Book the guest to lift the resident’s night rather than replace it.

🌊 SIGNAL + FLOW [THE ORDER OF THE DECISIONS]

Some of this costs real money.

An in-house content team is payroll, and High Scream is not a freelancer.

The order of the decisions costs nothing.

Name the night before you book it. Register it before the first poster. Brief the shooters before doors. Ask the sponsor what they need to report internally.

Four decisions, no invoice, and most rooms skip all four.

That is what The Ideation Bureau is now offering to do for other people.

Palm Angels at Hï and W1 Curates were the version where a brand came to them. Ushuaïa Dubai in 2024 was the version where they travelled, with a local partner. An agency is the version where anyone can call.

If you are trying to work out where your brand sits in music culture, drop me a DM. It is the thing I spend most of my time on.

Until next time,

Pete

Yann Pissenem interviewed by the author for Billboard, Ibiza, 2017. Additional remarks from IMS Ibiza 2026 and The Pulse.

Culture prices what they become.

Remixes. Edits. Covers. Samples. Stems. Alternate versions. Derivative works.

One song can now become the start of a chain: creators, versions, audiences, rights and value all connected back to the source.

One recording.

Many lives. Many audiences. Many revenue paths.

And the clearest version of that story starts with an artist who had to map the problem by hand.

Welcome to Signal + Flow.

This is part 1 of the vers1ons story.

THE BLUEPRINT [WHY DAVID SAW IT EARLY]

David Johnston came to this from the inside.

British-born. Product engineering at Brunel University. Frontman of Life of Dillon. Major label deal. Hundreds of millions of streams.

Behind the songs were contracts, recoupment, approvals and machinery nobody explains properly when the dream is finally in front of you.

David learned the thing most artists learn too late.

The music can work while the structure fails you.

Then came the walls.

Hundreds of hand-drawn pages across a tiny studio in LA.

Copyright flows. Royalty paths. Licensing logic. Version trees. Ownership structures.

At first, it looked like obsession.

David was mapping a lived problem, a repeatable behaviour, and a market moving faster than the rails underneath it.

One hook-and-stem pack went up on BeatStars. A creator bought the licence, built his own version, and the music travelled further than expected. Britain’s Got Talent. Then a school choir version.

The song worked. The paperwork didn’t.

Every new use meant emails, permissions, split questions and manual chasing.

What happens when the song wants to become many things, but the money trail can only handle one?

THE CULTURE SHIFT [THE SONG IS THE SEED]

The old music business treated release as the finish line.

Culture moves differently now.

A song gets sped up because that version fits a mood. A DJ flips it for a different room. A producer hears another genre. A brand borrows the feeling.

The versions tell you what the song can become.

THE BRAND PLAY [FROM SYNC TO SYSTEM]

Brands should care too, because culture is not the campaign. It is what people do after the campaign enters the world: the remix, the edit, the dance, the group chat send, the DJ playing it in the right room.

Most brands still treat music as a soundtrack. Find a song, licence the feeling, move on. That is broadcast. Versions are participation.

The difference is support versus extraction. Extraction borrows the artist, the sound and the credibility, then leaves nothing behind. Support pays the producer, clears the rights, funds the versions, credits the creators and routes value back.

That is where the opportunity becomes practical. A brand can sponsor the remix competition, fund the prize, clear the stems and commission the winning version.

FIFA already seems to understand the shift.

The World Cup used to end when the football did. Now there are Rolling Stones vinyls with FIFA branding, official album remixes, a Van Halen reimagining with J Balvin, Amber Mark, Steve Vai and Travis Barker, and a five-year Universal Music Group partnership.

That is catalogue strategy. One song scores a moment. A cleared version strategy can outlast it.

Brands already spend millions borrowing music’s cultural value. The next opportunity is turning that spend into remixable IP: one brand sound, many versions, many creators, many markets.

The campaign does not have to end when the media spend stops.

THE LEAK [CULTURE MOVES. MONEY DOESN’T.]

Culture already moves like this.

Money gets stuck.

Look at RUBBERZ, one of the strangest viral songs of June 2026.

An 80s-sounding rap record with a fake UK accent should not make sense, which is probably why people kept replaying it. Fenix Flexin and Purps On The Beat made something weird enough to argue about: AI, joke, new lane, nobody could quite decide.

Then it hit No. 1 on Apple Music’s Top 25: LA chart.

The original created the argument.

Production duo HILLS made it move somewhere else.

The tech house bootleg took the song into DJ sets, SoundCloud feeds and club clips.

The free-download gate turned that attention into emails, follows, saves, comments and reposts for HILLS, not the original artist and producer.

New room. New audience. Unclear value flow.

That is the leak.

If a song is worth remixing, it is worth setting the terms before the remix travels.

List the track. Set the splits. Let the best versions move.

Nobody has to be evil for the old system to break. The internet can create infinite versions, while the rights system still wants a bespoke email chain.

AI makes that impossible.

Stem separation. Voice generation. Genre swaps. Regional edits.

More versions are coming.

The next system has to make them legitimate, trackable and payable.

THE IDEA [PERMISSION BECOMES PRODUCT]

This is where vers1ons comes in.

A rights holder uploads a track. Sets the fee. Sets the royalty split. Sets where versions can go. Sets what creators can use.

V1 becomes V2.

V2 becomes V3.

V3 becomes V4.

Let people build on the music.

Keep the attribution, permission and financial rails intact.

That is what David saw.

A new layer of music money inside the way people already use songs.

That is bigger than remixes.

Music stops being a finished asset.

It becomes a way to let creativity spread without letting value disappear.

THE SIGNAL + FLOW

Stop thinking about songs as finished assets. Start thinking in versions.

A song is no longer just something you release.

It is something other people can build on.

The old question was:

Who owns it?

The next question is:

What can it become?

We’ll be writing a lot more about versions, rights and the new remix economy soon.

For now, this one feels personal.

I was introduced to David through my close friend Alejandro Reyes-Knight. We met in New York a couple of years ago, clicked quickly, and I later represented vers1ons at ADE.

After years helping artists and producers make money in different ways, this feels aligned with everything I care about: ownership, access, creativity, fairness, and making sure value flows back.

I’m proud to be part of the team.

The platform is live.

The version economy is not coming.

It is open.

Artists. Producers. Catalogue owners. Brands.

If your music can travel further, earn differently, or enter a new room, now is the time.

Message me with VERSIONS.

Let’s find the first version worth moving.

Until next week.

Pete

Three income streams. One post. It took off.

But the messages that stayed with me came after.

The same question. Every time.

How do I actually fix it?

Which societies. In what order. What information. And can I claim back what I’ve already missed.

I kept answering one by one. Then I noticed I was always saying the same thing.

So I wrote it down.

Every time your music plays on Spotify, the royalty splits in two.

One half goes to you as the songwriter. That box has your name on it.

The other half goes to the publisher. If you never registered as your own publisher, that box does not have your name on it.

That money is not disappearing. It is routing somewhere else.

The fix takes 20 minutes. It is free. You do not need a label or a lawyer.

Own Your Publishing walks you through every step — which societies, in what order, how to register both sides, and how to claim what you have already missed.

The MLC for mechanical royalties. SoundExchange for digital radio. Each one a separate income stream. Each one a separate registration. Most artists have set up none of them.

Plain English throughout. No jargon.

———

Most artists with even two years of releases have unclaimed mechanicals sitting in the MLC database right now.

The average claim runs into hundreds. Some run into thousands.

£27 to know where to look.

If you have looked at a royalty statement and felt like something was missing — it probably was.

Own Your Publishing: How to Stop Leaving 50% of Your Royalties Uncollected

Get the guide — £27

— Pete

Creator Signal + Flow [where music money makes sense]

Every Thursday. Hï Ibiza. June to September.

17 weeks. The world’s number one club. The Theatre room.

HUGEL’s name is on the door.

When Hï Ibiza announced HUGEL’s 2026 residency, most people saw a DJ getting a booking.

They missed what’s underneath it.

[HUGEL at Café del Mar, Phuket.]

To understand how he got there, you have to go back. Not to the streams. Not to the Beatport number ones.

Back to Marseille.

Port city. Poor. No music industry within reach. No industry connections.

His mother played Chic and Kool & The Gang. That’s where the ear came from.

His father was a gangster. That’s where the instincts came from.

Most people get the soul or the hustle.

HUGEL got both.

Welcome to Signal + Flow.

This week we’re looking at HUGEL. And what it actually takes to make the girls dance

THE FOUNDATION [40 Seconds That Built An Empire]

Stefan Dabruck managed Robin Schulz.

At the time, one of the biggest DJ in European electronic music.

HUGEL had no introduction. No meeting. No way in.

So he spent his last money flying to Amsterdam Dance Event.

Found Dabruck in the street.

Dabruck said he was too busy.

HUGEL didn’t move.

Told him he’d crossed Europe with everything he had for this one moment.

Dabruck listened for 40 seconds.

Signed him on the spot. Management. Bookings. Label.

That partnership is now over ten years old.

Without that street corner there is no Morenita.

No MTGD. No Hï Ibiza.

He had a vision. Flew to get it. Didn’t leave without it.

Most artists hope the right person finds them.

HUGEL went to find them.

THE PROOF [Numbers That Built Leverage]

21.4 million monthly listeners. 1.4 billion streams across his top ten tracks alone.

None of it came from chasing what the industry wanted.

All of it came from building what he believed in.

THE RESET [The Song Every Major Rejected]

March 2020. Tours stopped. Income stopped.

Stuck in Lisbon with time, old records, and no brief to follo

He went back to the beginning. The Mediterranean warmth. The grooves he grew up with.

He made Morenita for himself. Not for radio. Not for a label.

Then he sent it to every major.

They all passed.

Too Latin. Too underground. Doesn’t fit the format.

One person said yes. Mark Brown at CR2 Records.

Morenita hit number one on Beatport.

American DJs started playing it. Not before it charted. After. They follow what’s proven. They don’t find what’s next.

Diplo messaged him.

The labels who passed now work with him. On his terms.

The audience A&R'd it. The labels followed.

THE FILTER [One Question. Four Businesses.]

After Morenita proved the model, HUGEL didn’t sign to a major and hand over control.

He had one question. Four businesses grew from the answer.

Every release. Every signing. Every deal. Every room.

“Does it make the girls dance?”

MAKE THE GIRLS DANCE RECORDS [The Platform]

Launched in 2021 with partner Juany Bravo.

The motto:

Don’t do it for the money. Do it for the Latinas.

This is a filter.

Club tracks over streaming hits.

Extended mixes over radio edits.

Touring revenue over playlist placement.

He built the label he wished existed when he was coming up.

120+ artists. HUGEL keeps the equity.

The labels who rejected Morenita now sit downstream of the platform it inspired.

TAFARI WORLD [The Brand]

HUGEL wore Tafari World designer Tyler’s clothes for a year.

Then he became the partner instead of the ambassador.

High-margin drops. Art Basel pop-ups. Built around the same aesthetic as the music.

Every night at Hï Ibiza is also a brand moment.

Merch gets forgotten. A brand compounds.

Hï IBIZA [The Crown]

Night League CEO Yann Pissenem has spent 30 years being right about who defines electronic music next.

That’s what Hi Ibiza, Ushuaia and UNVRS are built on.

When he gives you 17 weeks at the world’s number one club, the industry listens.

The label provides the opening acts. The brand lives in the aesthetic of every night. The music gets tested live before it reaches Spotify.

He called it the peak of 21 years in music.

It’s also a machine.

17 Thursdays. 17 opening slots for MTGD artists. 17 live tests before anything hits Spotify.

Every night builds the next negotiation

The sound was already global before Ibiza.

Most DJs get paid a fee. HUGEL gets a platform that compounds.

With what he’s built, he doesn’t need a label advance.

He never did.

THE LEGACY [What It Was Actually For]

Ask him what he’s most proud of.

It’s not the streams. Not the residency.

It’s retiring his parents.

That’s what the system was built for.

In 2024 he lectured at Harvard. Hugel turned 21 years of hard lessons into one lecture.

Want the breakdown?

Comment “HUGEL” below and it's yours.

THE LAB [A&R at 3am]

Most labels decide what to release in offices.

HUGEL decides on the dancefloor.

He plays unreleased tracks during sets and watches the crowd. Not their hands. Their hips.

If they don’t move, the track stays on the laptop. Adjusted. Tested again. Two or three versions before the final mix.

By the time it hits Spotify, the room has already voted.

THE WALK-AWAY [How Warner Became A Partner]

When Morenita proved the model, the majors came back.

Big advances. Standard terms. They wanted the masters.

He said no.

Warner came back with something different.

MTGD release metadata lists Warner Music Central Europe as the distributing entity. Not the owner. The pipe.

Masters stay with HUGEL. Warner handles distribution, regional marketing, DSP access.

That’s the structural difference most artists never get to negotiate.

He didn’t need their permission to build. He needed their infrastructure to scale.

THE PUBLISHING [Where The Rights Live]

BMG extended his global publishing deal in early 2025.

Performance. Mechanical. Sync. Collected globally.

Most artists don’t have this set up at all.

HUGEL locked it in before the residency. Before 3.5 billion streams.

The money had somewhere to go

THE STACK [How It Compounds]

HIGH SIGNAL MOVES

1. Make music for 3am, not radio. The dancefloor doesn’t lie.

2. Own the master on your breakout. That decision changes every negotiation that follows.

3. Build the label before you need leverage. You can’t negotiate from strength while asking for permission.

4. Test everything live. By the time it hits streaming, the market has already decided.

5. Get a global admin deal, not a buyout. Anything else is giving away the asset.

6. The residency is a platform, not a reward. Same room. Different economics.

7. One filter. Everything runs through it. A clear filter beats any strategy document.

THE SIGNAL +THE FLOW

His mother gave him the signal. Funk. Soul. The groove.

His father gave him the flow. Survival. Leverage. When to walk.

A kid from Marseille with no contacts, no label, no way in.

Just a question.

Does it make the girls dance?

Four billion streams later, we have our answer.

And he’s not done.

His debut album is coming. 21 years in the making.

Snoop Dogg. Ty Dolla $ign. Ne-Yo.

Recorded in Los Angeles. He said the music felt eternal.

I’ve watched HUGEL play around the world. And he never loses the room.

He also replies on WhatsApp faster than people I know with a fraction of his schedule.

That work ethic never left.

The kid from Marseille is about to introduce himself to the world all over again.

You’re about to see why.

If you know an artist building without the system underneath them, send them this.

Thanks for reading this far!

Pete

[Signal + Flow]

For 13 years, Britney couldn’t sign a contract, see her kids unsupervised or even post on her own IG without court approval.

Earned $60 million performing. Needed permission to spend any of it.

Last month she closed a $200 million deal. Without asking anyone.

Her signature. Her decision.

Here’s where it gets interesting.

Sony owns her masters. Has since she was 15.

She didn’t write “Toxic.” Didn’t write “Oops.” Has co-writing credits on fewer than 40 songs total. Most of them lesser known album songs.

So what did Primary Wave actually buy?

Not the music.

Her. The name. The face. The story everyone knows.

Same playbook they ran on Whitney. On Marley. On Prince.

Britney’s biopic is already in production.

Welcome to Signal + Flow. Where money moves in music.

This issue: how do you sell a catalog when you don’t own the music?

THE MYTH [CATALOG = MASTERS + PUBLISHING]

Everyone assumes a catalog sale means you’re selling recordings and songwriting.

Britney had almost neither.

Nobody expected Britney to have anything left to sell.

Masters? Sony’s. Publishing? Mostly Max Martin’s. The maths that prices catalogs said she was out of chips.

She just cashed out for $200 million.

Best response to people who wrote her off? A nine-figure deal.

THE MECHANISM [WHAT $200 MILLION ACTUALLY BOUGHT]

Three things.

1. Artist royalties.

Sony owns the masters but Britney still gets a cut when they stream. It’s in her deal. You can sell future income. She did.

2. Publishing on the few songs she did write.

“Everytime.” Some album tracks. Not her biggest stuff but it still pays. Performance royalties. Mechanicals. Sync. Small money. Still money.

3. Her name, face, and likeness.

This is the whole game.

Britney Spears is a brand. Has been since 1998. You can put that name on merchandise, documentaries, musicals, biopics, perfume, Vegas residencies.

Primary Wave bought the right to do all of it. For fifty years.

McDonald’s doesn’t own every cow. They own the golden arches.

They didn’t buy the recordings. They bought the brand.

THE PLAYBOOK [PRIMARY WAVE’S REAL BUSINESS]

They’ve done this before.

Whitney Houston. Bought her estate. Produced the biopic. $60 million at the box office.

Bob Marley. Same move. Biopic did $180 million this year.

Prince. Licensing machine. Makes more money now than when he was alive.

Hipgnosis buys streaming revenue. Primary Wave buys cultural icons with stories to tell.

Britney fits the pattern perfectly. Troubled past. Sympathetic public. Bestselling memoir. Documentary that moved people. Biopic already greenlit.

The table is set. Primary Wave just bought the restaurant.

THE BIOPIC ECONOMY [IS HERE]

“Bohemian Rhapsody” made $900 million. “Rocketman” did $195 million. Marley just hit $180 million.

Hollywood figured out that music biopics are cheat codes. Built-in fans. Built-in soundtracks. Global nostalgia on demand.

Every artist with a story is now a potential film property.

In development right now: Michael Jackson. Prince again. Amy Winehouse. Boy George. Céline Dion. Britney.

If you have a catalog and a narrative, that combination is worth more today than five years ago.

Identity is becoming its own asset class.

Masters. Publishing. Now NIL.

Name, image, and likeness used to get bundled into record deals or ignored. Now it’s carved out and sold separately.

Primary Wave isn’t buying music rights. They’re buying identity rights. Different asset. Different buyers. Different math.

This is coming for living artists too. Not just estates.

The uncomfortable truth.

Britney’s value spiked because people connected with her story. The conservatorship. The documentary. The public redemption arc.

Primary Wave’s model runs on narrative. Whitney, Marley, Prince, all artists whose stories resonated beyond the music. That’s not a coincidence.

Public narrative moves deal value in ways that don’t show up on Spotify.

THE LEAK [WHY MOST ARTISTS HAVE NOTHING LEFT]

Here’s what should make you think.

Most artists in Britney’s situation have nothing to sell.

Signed your masters away at 16? Gone forever.

Didn’t write your songs? Publishing belongs to someone else.

Signed a 360 deal without reading page 47? They probably own your name too.

You end up renting your own career. Label gets the streams. Writers get the publishing. Managers and handlers skim the brand deals.

Britney lost the usual assets early. Masters gone before she knew what masters were. Publishing gone because she wasn’t in the writing room. Then the conservatorship took the rest.

But she kept one thing nobody could take.

The story.

Her memoir sold over a million copies in week one. The documentary became one of Hulu’s most-watched originals of 2021. The world watched her fight back and win.

Turns out it’s worth $200 million.

THE POWER DYNAMIC [WHO WINS]

Primary Wave wins if people keep caring about Britney. Biopic does numbers. Sync requests stay steady. Nostalgia licensing keeps printing.

Britney wins regardless. $200 million. Cash. No tours. No Vegas. No obligations. On her terms. Done.

Sony wins because they still own the recordings. Nothing changed for them.

Max Martin wins because he still owns the publishing on the songs that matter.

The old assumption was that catalog value means owning music.

Britney proved you can build value from something else entirely.

THE PREDICTION [WHERE THIS IS GOING]

Within five years, identity-first deals like Britney’s won’t be rare. They’ll be a category.

Masters defined the last decade of music lawsuits.

Likeness will define the next.

Think I’m wrong?

Tell me why in the comments.

HIGH SIGNAL MOVES [WHAT TO DO NOW]

1. Audit your NIL this week.

Pull every contract. Ctrl+F: “name,” “likeness,” “image,” “publicity rights.”

If someone else controls it, you’ll find out when a brand cheque goes elsewhere.

2. Write your story in one page.

What happened. What you survived. What it means.

Keep it updated. That page is worth more than your Spotify stats.

3. Build your archive folder.

Old flyers. Studio photos. The jacket from your first video. Voice notes. Session footage.

Create one folder. Label it “Assets.” Add to it monthly.

4. Timestamp everything.

The voice note before the hit. The photo from the session. The text when you got signed.

Biopics need footage. Documentaries need proof. Your phone is full of future revenue.

Back it up tonight.

THE PROOF [NUMBERS]

Songwriting credits: fewer than 40.

Biggest hit she co-wrote: “Everytime.”

Master ownership: zero.

Deal price: $200 million.

Justin Bieber sold for $200 million in 2023. He had real publishing. Significant ownership.

On paper Britney’s catalog is worth a fraction of his.

Same price.

That tells you everything about what Primary Wave is actually buying. Not music. Memory.

SIGNAL + FLOW

The headline said catalog sale.

The reality: she sold the commercial rights to being Britney Spears.

For 13 years she couldn’t sign her own name.

Last month she signed for $200 million.

Sony keeps the masters. Songwriters keep the publishing. Britney keeps the cash.

Primary Wave isn’t competing with labels. They’re buying what labels left on the table.

Whitney proved the model. Marley confirmed it. Britney cashed in.

She finally got to sign something on her own terms.

The music was never hers. The story always was.

If this changed how you see catalog deals, send it to someone who needs it.

If I missed something, tell me. I read everything.

See you next week.

Pete

[Signal + Flow]

Storm Queen. Nightcrawlers. Celine Dion. Lana Del Rey. Sam Smith.

Quincy Jones signed him. Will Smith hired him.

Then in 2025, he finally got one with his name on it.

His song “Dior” hit #2.

Most artists wait. Refresh charts. Hope.

MK posted the acapella on iTunes and told the internet to remix it.

User versions flooded TikTok and Instagram.

The song hit #1.

Then 14 official remixes followed.

One song. Fourteen masters. Same two writers collecting from every single one.

This is the version economics masterclass every producer should study.

And MK just gave the industry the blueprint.

Welcome to Signal + Flow.

Where music money actually moves.

And who captures it.

2. THE PLAY [HOW VERSION ECONOMICS WORK]

One song creates two separate assets.

1. The Master

David Guetta’s remix of “Dior.” Guetta owns (or shares) the recording. Gets paid when his version streams.

2. The Publishing

The song MK and Chrystal wrote. They get paid when ANY version streams. Guetta’s, Solardo’s, all 14.

3. The Multiplication

Standard artists release one version and move on.

MK commissioned 14 remixes in 8 weeks.

Each remix = new master recording.
Same song underneath = same publishing split.

4. The Economics

Remixers: Paid once. Flat fee or small master % on their version only.

MK + Chrystal: Collect publishing every time ANY version streams.

All 14. All territories. Next 70 years.

[SEE VISUAL BELOW]

3. THE VAULT [HOW A 9-YEAR OLD DEMO BECAME A REMIX PORTFOLIO]

Chrystal wrote “The Days” in 2015.

She pitched it around. Producers passed.

So she shelved it.

Nine years later, a friend played her old demos during a drive.

She uploaded archived tracks to streaming.

Her sister posted “The Days” on TikTok.

It caught locally first. Bolton, Manchester.

Then UK producer Notion flipped it into a UK garage remix.

The remix exploded.

Chrystal opened it up.

D.O.D. Rudimental. Mazza_120. Twocolors. Jamezy. Southstar.

Different genres. Different audiences.

Same writer collecting from all of them.

750M+ total streams. UK Top 5. #1 in two countries.

One viral moment. One portfolio.

[SEE SCREENSHOT BELOW - “The Days (Remixes)” album showing 10 versions, Chrystal’s name on every single one]

When MK came calling, Chrystal already understood the playbook.

In February 2025, “The Days” was nominated for Song of the Year at the BRITs.

Demo shelf to BRIT nomination: 10 years.

4. THE 30-YEAR ARC [WHY MK COULD EXECUTE THIS]

14 remixes in 8 weeks.

Most artists can’t do that.

MK could.

1. AREA10 = Speed

MK owns AREA10, his production company.

He commissioned remixes directly. David Guetta. Solardo. Bou & Turno.

Then licensed everything to Sony/Columbia.

He kept creative control. They handled distribution.

Commission to release: days, not months.

2. Reputation = Currency

30 years of credits opens doors most producers can’t reach.

When MK calls, producers answer.

3. Clearance = Leverage

Most remix projects die in legal.

Splits. PRO registration. Territory rights.

MK’s team clears deals in days.

30 years of structuring deals builds efficiency.

When “Dior” hit #2, MK had the infrastructure to turn it into 14 assets.

Thirty years of building systems so that when the moment came, he could move fast.

[SEE VISUAL BELOW]

5: THE GAP [ WHAT MOST ARTISTS DON’T HAVE]

Everyone sees 14 remixes in 8 weeks.

Here’s what made it possible:

Commission. Clear. Coordinate. Track.

Multiply each by 14.

Do it in 8 weeks.

MK had the team. The relationships. The systems.

Most artists have none of these.

[SEE VISUAL BELOW]

[InfrastructureGap]

Understanding version economics is one thing.

Building infrastructure to execute it is another.

Version economics at scale will soon be possible.

Platforms like vers1ons are building the rails.

[SEE VISUAL BELOW]

6. HIGH SIGNAL MOVES

1. Own your publishing before you need leverage.

Register every song with your PRO.

Set up a publishing company. £50. 2 hours.

Use split sheets on every session.

You either collect or you leak.

2. Think versions, not singles.

One song = one asset.

Fourteen versions = fourteen revenue streams to the same writers.

Commission across genres. Different audiences. Same publishing split.

3. Keep files alive.

Chrystal uploaded old tracks. One generated 750M streams.

Delete a file and it’s gone forever. Keep it and you have options.

4. Open the song when momentum builds.

MK invited remixes at #2—when attention was growing, not fading.

User remixes built the hype. Official remixes captured the money.

5. Arrive with proof, not potential.

Chrystal had 750M streams before any label conversation.

MK had 30 years of credits and AREA10.

Both negotiated from strength.

6. Build infrastructure before you need it.

MK spent 30 years building relationships and AREA10.

When “Dior” hit, he had leverage to negotiate terms.

Readiness beats momentum.

7. THE CONNECTION [TWO SISTERS, TWO DAUGHTERS, ONE RECORD]

MK’s daughter kept hearing “The Days” on TikTok.

Chrystal’s sister had posted it months earlier.

MK tracked Chrystal down.

She wasn’t sure she wanted to be an artist. She’d been burned before.

Then she heard what he’d made.

“OK, I want my name on it.”

MK produced it through AREA10. Sony/Columbia distributed it.

Both wrote it. Both collect from it.

SIGNAL + FLOW [THE REAL QUESTION]

It wasn’t whether “The Days” was good.

Labels rejected it for 9 years.

It wasn’t whether it could go viral.

It was already everywhere on TikTok.

The question was:

Who had infrastructure to turn attention into assets?

MK had 30 years of relationships.

Chrystal had proof in her archive.

Both had publishing locked.

When momentum came, they were ready.

This one took a while to piece together.

If it helped, send it to someone building in music.

Forward it. Tag them.

If not, reply and tell me what missed. I read every message.

Pete

[Signal + Flow]

---

This breakdown is based on public data and how these structures typically work. Actual deal terms stay private. This is analysis, not financial advice. If you’re building in music, work with a music lawyer.

---

This isn’t a cautionary tale about a mid-tier producer who got unlucky.

This is Hit-Boy.

If you’ve heard “SICKO MODE,” you’ve heard Hit-Boy’s work.

Travis Scott. Drake. Three beat switches. The first hip-hop song in history to spend 30+ weeks in the Hot 100 top ten.

Hit-Boy made that beat inside a $50,000 publishing deal.

Not $50,000 for one song.

$50,000 for his entire publishing catalog.

Universal held the publishing. Polow da Don's Zone 4 held the access. Jimmy Iovine's Interscope sat above it all.

Signed at 19. No clear end date.

Delivery tied to physical CDs.

In 2007. The year the iPhone launched.

His lawyers would later call it:

“the worst publishing contract they had ever seen”

Every hit that followed was governed by terms signed, before any of it existed.

Welcome to Signal + Flow.

How music money actually moves.

And who captures it.

THE MYTH [GRAMMYS DON’T REWRITE CONTRACTS]

“Once I blow up, I’ll renegotiate.”

This is the lie producers tell themselves.

Contracts don’t renegotiate because you win Grammys.

They scale.

More money flows. Same structure. Same destination.

Fame and leverage aren’t the same thing.

Universal had lawyers, precedent, and patience.

Hit-Boy had hunger and $50,000 in front of him at 19.

One compounds. The other disappears.

THE MECHANISM [HOW THE MONEY ACTUALLY MOVED]

The $50,000 wasn’t payment.

It was a loan.

“I didn’t even know I was in a bad deal until 2011, once I made my first hit. I was going to look for that check, the real money. And they were like, ‘No, you in this contract. So, you gotta thug it out.’”

How the structure worked:

→ Hit-Boy receives $50,000 advance
→ Universal owns his publishing from day one
→ Every royalty goes to recoup the advance first
→ Publisher takes their cut (typically 50%)
→ Hit-Boy sees the remainder
→ The term doesn’t end at recoupment, it continues
→ Delivery requirements tied to physical CDs
→ By 2007, CDs were dying
→ The contract didn’t care
→ The term never moved

The hits weren’t the problem.

The structure was.

THE RÉSUMÉ [DECADE-DEFINING PRODUCTION]

Everything you know him for was governed by those terms.

Diamond records:

“SICKO MODE” — Travis Scott (4B+ streams, 16× Platinum)

“N****s in Paris” — Jay-Z & Kanye West (Diamond certified, peaked at #5)

Grammy wins:

“N****s in Paris” — Best Rap Song, Best Rap Performance (2013)

“Racks in the Middle” — Best Rap Performance (2020)

King’s Disease — Best Rap Album (2021)

3 wins. 15 nominations.

The runs:

Beyoncé. Drake. Eminem. Rihanna. Kendrick Lamar. Ariana Grande. Nicki Minaj.

Six albums with Nas in three years. Three Grammy nominations from that run alone.

He even gave Nas his first Grammy ever, after 13 nominations and three decades in the game.

Industry recognition:

18 years. Diamond plaques. Multiple Grammys. The sound of a generation.

The publishing flowed to Universal.

THE LEAK [WHERE THE MONEY WENT]

This is the part most people skip.

“SICKO MODE” alone: 4 billion+ streams.

Publishing is typically a fraction of master revenue — but on a song of that scale, we’re talking millions in lifetime publishing royalties.

Under a standard co-pub, Hit-Boy would see half.

Under worse terms — which his lawyers described — significantly less.

Now multiply across:

→ “Clique”

→ “N****s in Paris”

→ Six Nas albums

→ Beyoncé, Rihanna, Kendrick placements

→ Sync licensing across the catalog

We don’t know the exact figures. The contracts aren’t public.

But the structure tells you everything.

When a publisher owns 100% from day one, and recoupment has no sunset, the math only moves one direction.

That money flowed somewhere.

For 18 years.

The leak wasn’t a mistake.

It was the contract working exactly as designed.

THE POWER DYNAMIC [WHO BENEFITS FROM CONFUSION]

Universal didn’t do anything wrong.

They did exactly what the contract allowed.

That’s the point.

The system works like this:

→ Labels and publishers sign young talent early
→ Terms favour the company because the company takes the risk
→ If the artist fails, the company loses the advance
→ If the artist succeeds, the company owns the upside
→ Success doesn’t trigger renegotiation
→ Success triggers more revenue under the same terms

The artist who “makes it” is often the one most locked in.

Hit-Boy’s story isn’t unusual.

It’s the model.

Who benefits from this being confusing?

• Publishers who sign 19-year-olds without representation

• A&Rs who can promise access without explaining terms

• An industry that treats “getting signed” as the win

The win is what you keep.

Not what you celebrate.

THE CONTEXT [HOW HE GOT THERE]

Hit-Boy was born Chauncey Hollis Jr. in Fontana, California. May 21, 1987.

His father, Big Hit, spent most of Hit-Boy’s life in prison. His mother was a teenager when she had him. Money was tight. Guidance was scarce.

Music was the way out.

He taught himself FL Studio. Built beats in his bedroom. Uploaded them to Myspace. One day, a message came through from Polow da Don, one of the hottest producers in the game at the time.

“Let’s get this paper, pimp.”

Hit-Boy was 19. One year out of high school. No lawyer. No manager. No one in his corner who understood what a publishing deal actually meant.

$50,000 looked like freedom.

It was the opposite.

THE ESCAPE [WHAT IT TOOK TO GET FREE]

July 2025. The deal ended.

Not because the term expired. Roc Nation made it end.

Jay-Z and Desiree Perez applied legal pressure to negotiate an exit the contract never provided.

“He helped secure my freedom. I feel like I just got out the pen after an 18-year sentence.”

Hit-Boy didn’t wait out the deal. He was rescued.

THE RESET [WHAT FREEDOM LOOKS LIKE]

After 18 years, Hit-Boy controls his publishing.

First release as a free man: “What’s the Deal?” — dropped July 24, 2025. The same day he announced his freedom.

Self-produced. Self-written. Self-owned.

“I’ve never felt more empowered as an artist. After 20 years in the game, I feel like I’m just getting started.”

What changed?

→ Full exec producer points on new projects

→ Every new composition is his from day one

→ Admin deals that keep 85-90% instead of 50%

→ Direct sync licensing ($250K+ per premium placement)

The Nas run showed what ownership looks like. Six albums. Exec prod credit. Full points.

Now he builds that way for himself.

Net worth 2026: $20 million.

SAVE THIS [BEFORE YOU SIGN ANYTHING]

If a publishing deal has:

❌ No clear end date

❌ No reversion clause

❌ Recoupment with no sunset

❌ Delivery tied to dying formats

You’re not signing a deal. You’re giving away your future.

Remember:

1. Runs > hits.

2. Undefined terms are forever.

3. Money follows structure, not talent.

4. Leverage comes from bodies of work.

5. Advances disappear. Ownership doesn’t.

6. Contracts decide outcomes before success.

THE SIGNAL + FLOW

Talent got Hit-Boy in the room.

Structure decided who kept what was built there.

It took Jay-Z to get him out.

Most producers won’t have that call.

Sign accordingly.

The Money Language of Music [Coming Soon]

Hit-Boy needed Jay-Z to escape.

You and I probably won’t get that call.

So we need to understand the system before we’re stuck in it.

I’ve spent months building The Money Language of Music, a guide to how songs actually get paid and where that money stops.

What each term means. Where money leaks. What to fix first.

Built so you never have to wonder where it went.

Reply “MONEY” if you want first access.

v1

v2

v3

If this was useful, send it to one producer who needs to see it before they sign.

Until next week,

Pete

[Signal + Flow]

Click the image below to listen to the audio breakdown.

$30 million for music that doesn’t exist.

That’s reportedly what Capitol just paid EsDeeKid.

Two unwritten albums.
No recorded tracks.

He kept everything that already worked.

A catalog that earns whether he releases again or not.

Most artists sell what’s proven to fund what’s next.

EsDeeKid did the reverse.
He sold the future.
Kept the asset.

This is leverage.

Welcome to Signal + Flow.
Where music money actually moves.
And who captures it.

THE PROOF [NUMBERS THAT FORCE TERMS]

Six months ago: 200K monthly listeners.
Now: Almost 21 million.

910 million total streams.
“Phantom” at 186 million.

UK Top 20.
US Billboard 200.
Sold-out Electric Ballroom.

Note: Revenue figures throughout are estimates based on industry-standard rates and publicly available data. Actual deal terms and earnings have not been independently verified.

WHAT CAPITOL BOUGHT [AND WHAT THEY DIDN’T]

Capitol didn’t buy the thing printing money.

They bought what hasn’t been made yet.

Two future albums.
Nothing else.

What stayed with him:

A focused catalog already generating nine-figure streaming volume, plus the leverage that follows.

Most deals work the other way around.

Advance first.
Ownership traded early.
If it explodes, the label owns it forever.

This deal reversed that.

One pays once.
The other pays for decades.

THE SOUND [ACCENT AS AN ASSET]

Many rappers try to sound like the market.

EsDeeKid didn’t.

He made the market come to him.

In a field full of London voices, the Scouse accent cuts through instantly.

The production locks it in.
Dark. Atmospheric. Bass-heavy.

One producer.
Wraith9.
One world.

Most tracks under two minutes.
Hooks land in the first ten seconds.

The accent creates curiosity.

Curiosity creates search volume.

THE ASSETS [ONE SONG, TWO PAYDAYS]

The circle below is the whole game.

One song creates two separate assets.

The master.
The recording. The stream. Where most money lands.

The publishing.
The song underneath. Performance. Mechanical. Sync.

Many artists only collect one side.

They upload the track.
They watch the numbers.
They never finish the setup.

So half the circle stays empty.

That’s why artists with millions of plays still ask where the money went.

EsDeeKid didn’t miss this.
He locked the structure.

✓ Masters owned
✓ Publishing controlled
✓ Collection routed before scale

That’s why 900M+ streams don’t just look good.
They pay.

If you can’t name your PRO, that white half isn’t broken.
It’s paying someone else.

THE MASTER [WHERE CONTROL LIVES]

The recording itself.
What plays on Spotify, Apple, YouTube.

This is where most streaming money flows.

This is where leverage sits.

Most of that value runs through the master.

He owns it.

That’s the base.

THE PUBLISHING [WHERE LEVERAGE HIDES]

The song beneath the recording.
Lyrics. Melody.

Smaller share.
Different power.

Publishing is usually the minority of income.
It’s the majority of control artists forget to set up.

This is where splits are fairer.
This is where sync can change outcomes.

Performance is visible. Mechanical money hides globally unless a publishing administrator is appointed to chase it.

THE BOUNDARY [EXPOSURE VS CONTROL]

A few weeks ago, The Chainsmokers dropped an unofficial remix of EsDeeKid’s track.

On paper, that looks like free promotion. One of the biggest EDM acts in the world amplifying your song.

EsDeeKid rejected it.

Not because they asked and he declined. Because they never asked at all.

When someone remixes your work without permission, they’re not collaborating. They’re harvesting attention from your catalog.

Chainsmokers today. Everyone tomorrow.

By rejecting the remix publicly, he set a precedent. His catalog. His terms. His permission required.

That boundary is worth more than any feature.

THE MASK

Most people see the mask as branding.

It’s deeper than that.

The reveal.

If he ever unmasks, that moment is his to monetise. A face reveal at 21 million monthly listeners is worth seven figures in attention alone.

He’s holding optionality most artists gave away for free on day one.

The narrative.

No interviews means no misquotes. No personal content means no social media fatigue. No face means no tabloid drama. Every story about EsDeeKid is about the music or the mystery.

The speculation.

When rumours spread that EsDeeKid was secretly Timothée Chalamet, most teams would have killed it fast. Deny. Clarify. Control.

His team let it run.

Then they resolved it on their terms, inside a song.

“4 Raws (Remix)” dropped with Timothée Chalamet delivering a full verse.

The track passed 50 million plays on IG and TikTok in its first day.
The response to his verse was strong.

He fit the record.

The remix expanded reach without shifting control.
EsDeeKid kept the asset.
Chalamet proved he can rap.

THE MACHINE [BUILT BEFORE THE DEAL]

Step 1: Sonic Consistency

Committed to one producer: Wraith9.

Sound became consistent before scale arrived.

Every track felt like the same world.

Step 2: Visual World-Building

Director Archie Erskine spotted early TikTok traction and built something most rap artists never bother with: a cinematic universe.

The aesthetic pulls from Gotham. Batman without the cape.

Dark alleys, pyro smoke, harsh contrast lighting. The mask is the anchor. Edgy. Mysterious. Never fully lit. Always slightly obscured.

This creates instant recognition. You see two seconds of an EsDeeKid clip and you know it’s him. Not from the face. From the world.

Most artists chase trends. Bright colours one month, Y2K the next. Their visual identity shifts with the algorithm.

EsDeeKid committed to one mood and let it compound.

Step 3: Format Optimisation

Most tracks under 2 minutes:

Hooks land in the first 10 seconds. Strategic optimization for TikTok discovery and algorithmic retention.

Step 4: Vertical Integration

EsDeeKid controls every element. Designs his own merchandise. Directs his own aesthetic. Owns the masked persona, pirate theme, all-black visuals.

Most artists outsource this. Their brand feels generic.

The result by early 2025:

Sold-out shows. Professional booking through Wasserman Music. Chart positions in UK and US.

Then the Metropolitan Police used “Phantom” in a campaign about phone theft. CCTV arrest footage synced to his drill beat.

Institutional adoption. Not influencer co-signs. Proof that his sound was culturally embedded.

When Capitol came calling, EsDeeKid had leverage. Not because of the streams. Because of the infrastructure behind them.

TIMING [WHY WAITING CHANGED EVERYTHING]

If EsDeeKid signed in 2024, Capitol owns the catalog. All the streams. Every future dollar.

Forever.

By waiting until late 2025, he:

→ Built more proof
→ Increased leverage (multiple labels bidding)
→ Structured better terms (future work only)

He kept the asset that compounds. Sold only the uncertain future.

The Rebel catalog will generate income for the next seventy years. Whether EsDeeKid releases another song or not.

Capitol paid $30M for the privilege of funding what comes next.

[High Signal Moves]

1. Delay the deal until the deal needs you.

Most artists sign too early because they mistake interest for leverage. Interest is cheap. Leverage comes from proof: streams, sales, audience, momentum. The longer you build independently, the more you keep when you finally negotiate.

2. Ask the one question that matters.

If a label wants to sign you and you already have streams, ask: “Can we do a deal for my next two albums instead of my existing catalog?”

If they say no, they want your past more than your future.

3. Treat your catalog like equity, not content.

Every song is a share in your future earnings. When you give away masters or publishing, you’re diluting yourself. Would you sell 80% of a company you’re building for a one-time payment?

4. One producer. Ten tracks. Then expand.

Work with one producer / singer / rapper who understands your sound. Make ten tracks together before working with anyone else.

Consistent sound = people remember you.
Scattered sound = people forget you.

5. Reject exposure you didn’t consent to.

When someone uses your work without permission, they’re extracting value from your catalog. Saying no, publicly, sets a precedent.

6. Set up collection before you need it.

If you don’t know what a PRO is, you’re losing money right now.

→ Affiliate with a PRO (PRS in UK, ASCAP/BMI in US)
→ Use a publishing administrator (DistroKid Publishing, Songtrust)
→ Set up your own publishing company
→ Clean metadata on every release
→ Split sheets for every song

This takes one day. It determines whether you collect everything you’re owed or leave money on the table.

7. Build like you’ll never get signed.

That way, when you do, you negotiate from strength, not desperation.

THE SIGNAL + FLOW

Signal brought the attention.
Flow decided who got paid.

Most people stop at signal.
That’s where the money disappears.

If this was useful, pass it to one person who’d get it.

If not, please reply and tell me what missed. I read every message.

If streams aren’t the issue, your setup probably is.

Reply to this email with “Signal + Flow” and I’ll share the exact diagnostic prompt I use to trace where royalties stall, misroute, or never reach the artist.

Until next time,

Pete, Signal + Flow

Most people see success in music.

Very few see the system underneath it.

Last year on Linked In, I started mapping where money actually moves.

Who gets paid. Who doesn’t. And why.

The work reached over a million impressions.

It was reposted by major music accounts in China, lifted by a media network in New York, and referenced inside a major label.

More importantly, it’s helped artists, label execs and investors understand where value leaks and where it compounds.

What comes next goes deeper than social allows. So I’m moving this work into a new weekly newsletter:

Signal + Flow.

Signal + Flow is more structured.

Built for people who want to understand how money in music moves, and how to position themselves on the right side of it.

The perspective has shifted too.

Alongside the writing, I’m now working inside the system at vers1ons across A&R, partnerships, releases and remix infrastructure.

That changes the quality of the analysis.

Less theory. More first-hand signal.
What’s happening now and why it matters.

I’ll be sharing what I’m learning across all of it.

The strategy.
The new remix economy.
Emerging opportunities and market gaps.

Each issue focuses on one thing:

– A real case
– The full revenue flow
– The mechanism underneath
– Where value leaks or compounds

Mapped clearly. End to end.

The first issue breaks down EsDeeKid’s rise.

17.5m monthly listeners. Working with Timothy Chalomet.

From masked anonymity to one of the fastest-growing artists in the world.

Why he reportedly signed one of the biggest rap deals on record.

And why he killed a Chainsmokers remix, a move that quietly shows where remix etiquette is heading in 2026.

If you’ve followed this on LinkedIn, this is the next chapter.

If you’re new, welcome.

Writing this from Phuket. The sun is shining and the birds are chirping. A good place to start something new.

First issue drops next week.

— Pete

In the last issue, we looked at where remix culture started.

This time, we’re turning up the volume.

Because these remixes didn’t just add to the original… They replaced it.

Clubbers danced to the edit. Radio stations played that version. In some cases?

The original was completely overshadowed.

🌀 In remix culture 002:

– Jason Nevins x Run DMC → flipped hip-hop into a global anthem.

– DNA x Suzanne Vega → whispered poetry turned global groove

– Junior Sanchez x Gorillaz → a B-side flip that ignited dance floors

– Inner City – Good Life (Buena Vida remix) → made the underground timeless

– Jamiroquai – Space Cowboy (David Morales remix) → still being spun 20 years later

Hear it. Feel it. Read it.

→ READ REMIX CULTURE 002 HERE

🧠 Why it matters:

Remix culture isn’t just for DJs.
It’s how culture moves now.

TikTok flips. Meme hooks. Bootlegs on Bandcamp.

But remixers?
Still get no shine. No splits. No system.

Vers1ons is building something to fix that. We are building a platform where remixers get credit, get paid and keep control.

If you want to know what we’re working on, send me a DM.

Missed remix culture 001?

We went back to the beginning:
King Tubby, Larry Levan, tape loops and forum flips:

📼 Read it here

Welcome to my spirit temples ⚡

Now that Chat GPT remembers everything about you. I asked it to create my spirt temple based on all the knowledge it had of me.

To create your own, the prompt is:

now that you remember everything about me. Design my spirit temple that reflects who I am. Keep it personal. Keep it powerful

Next up:

remix culture 003 - Remixing at scroll-speed. Edits born in feeds, not pressed on wax.

See you in the next drop.

Until next time.

—Pete

P.S. The first glimpse of Vers1ons is about to go live 👀 It’s short, it’s sharp, and it changes how you see what’s coming.

Ever loved a track for years, only to find out it wasn’t even the original?

Maybe it was a SoundCloud flip. A grainy YouTube upload. A bootleg buried in a mix you heard once and never found again.

That’s how a lot of us got into music.

Not through official channels. But through the versions that hit different.

The edits. The flips. The remixes that moved something in us.

They stuck so hard, they replaced the original in our heads without us even realizing.

That got me thinking…

Who started it? And why do unofficial versions often sound better than the originals?

So I went deep down a remix rabbit hole.

And I’ve started ‘remix culture’, a new series on Medium to document it.

And it’s dedicated to the flips, edits, and bootlegs that shaped the sound from the underground.

Each post digs into a different corner of the culture. Old forum finds. Dusty radio rips. Unreleased flips. Expect:

🧠 Low noise. High signal.
🔁 Documenting not dictating.
🕺 Built in the underground, not for the algorithm.

🎚️ 5 things you’ll discover in ‘remix culture 001’

1. Where remix culture really began

2. The edits that turned clubs into temples of sound.

3. How early hip-hop was built on borrowed beats and tape loops.

4. Why the internet made remixing easier and way more chaotic.

5. How Vers1ons is building a future where remixers actually get their due.

🎧 And yes, I included links so you can hear it all while you read.

Up next: remix culture 002

The flips that didn’t just remix the track...They became the track.

You’ve probably heard one. You just didn’t know where it came from.

👉 Read the first chapter of remix culture

Then come back for the next drop.

See you soon.

Pete

P.S. Got a remix that hit harder than the original? Reply and send it. Digging’s always better with community. Maybe I’ll include it in a future chapter.

I’ve been living out here in the Thai trenches for the past five months with my guy Alejandro Reyes-Knight.

No distractions. Just space. Time to think. Build. Breathe.

It’s been a reset I didn’t know I needed, and one that’s helped me get clear on what I actually want to make, who I want to make it with, and why it matters.

One of those things?

Finishing a children’s book about our Lil Pudgy penguins discovering Thailand 🐧🇹🇭

(more on that coming soon)

Another?

I’ve also stepped into a new A&R and partnerships role at Arc-H1ve, where we’re getting ready to launch a platform called Vers1ons.

We're all about backing artists, remixers, and producers in ways that actually matter, both creatively and financially.

Right now, we’re getting ready to launch Vers1ons, a platform built from the ground up for remix culture to ensure everyone gets paid fairly and continously.

And by remix culture, I don’t just mean music (though that’s where we’re starting).

I’m talking about a whole way of seeing the world. Taking something that exists and flipping it into something new. Books. Cartoons. Brands. Ideas. It’s all remixable.

But first: the music.

Because there’s a big issue here that we need to talk about, remix revenue is broken.

Too many artists, producers, and rights holders don’t get paid fairly for the work they put in.

We’re building Vers1ons to change that, to make sure every remix is credited, every split is clear, and everyone involved gets their fair share.

Our team is sharp, growing and fully dialled in. We’re not here to make noise, we’re here to make change.

And we’ve been obsessing over every detail to make sure this platform actually works for the people it’s meant for.

This week, I’m also launching something I’ve been quietly building in the background: a new series called remix culture.

It’s a deep dive into the stories, sounds, and scenes that shaped underground culture and pushed it into the mainstream.

Each post will bring you:

• Iconic stories behind the remixes

• Hidden gems that deserve more shine

• Big ideas about where this is all heading

• Tools and tech that are shaping the future

• Real talk with the people behind the sounds

If you create, curate, or just keep your ear to the underground, this one’s for you.

🗓️ remix culture 001 drops this week.

Want early access? Want to contribute? Got something cool we should feature?

Just hit reply.

Until then, this is the feed. The page. The place.

Low noise. High signal. Only the good stuff.

Have an awesome Sunday!

Until next time.

Pete

P.S. Quiet season’s over. The vision’s sharp, the sun’s hot and Vers1ons is almost here.

Everything is changing so fast.

New AI tools and trends pop up daily.

It’s tough to keep up, isn’t it?

But here’s the truth: AI isn’t here to take over.

It’s here to help you shine.

Now imagine this:

You’re at a crossroads.

On one side, you play is safe and keep doing things the way you always have.

On the other side, you lean into AI, adapt, and use it to take your creativity and productivity to the next level.

Here’s the reality:

Most people hesitate when it comes to new tech because it feels uncertain.

But that’s exactly where the biggest opportunities are.

If you’re ready to embrace AI, it can become your competitive edge.

Here’s how you can get started:

1. Start small. Test and learn 🌱

Start with one area of your business where AI can make an immediate impact.

Maybe it’s using AI-powered tools for personalized customer experiences, or automating repetitive tasks so your team can focus on bigger ideas.

Here’s a prompt to get you thinking:

ChatGPT Prompt: “What is one area in [your company] where AI could save time or enhance the customer experience?”

2. Learn more about your audience's needs 👥

AI is a game-changer when it comes to gathering and analyzing data.

You can get deep insights into what your customers really want—faster and more accurately than ever before.

Use this to your advantage to create more targeted, personalized marketing strategies.

How can you use this today?

ChatGPT Prompt: “What AI tools can help [your company] analyze customer data and make more informed marketing decisions?”

3. Get Creative. AI as your idea partner 🎨

Think of AI as a collaborator, not a replacement.

Use AI to generate new ideas, automate content creation, or test different marketing strategies.

Let AI handle the heavy lifting so you can focus on what you do best.

Try this out:

ChatGPT Prompt: “How can AI help [your company] develop more engaging content or creative campaigns?”

4. The time is now ⏰

AI is already transforming the way brands work, and those who embrace it early are the ones who will lead.

The only thing standing between you and the next level of success is the decision to start.

Take that first step.

Ask yourself:

ChatGPT Prompt: “What is the first AI-driven change [your company] can implement to enhance productivity or creativity?”

Here’s my takeaway:

Take the leap. Don’t hold back. Start experimenting.

If this resonates with you, I’d love to hear your thoughts.

Please vote below. Your feedback means a lot.

Thanks for reading!

Until next time,

Pete

P.S. Let’s stay connected! You can find me on:

Linked in

X

My LinkedIn got hacked.

One moment, I was logged out. The next, everything was gone.

The hacker changed my password.

Then he took control of my two-factor authentication, and swapped my phone number.

But the worst part?

They started sending messages to network, people I’ve spent years building trust with.

They sent out fake offers for “high-paying jobs to build a crypto platform,” trying to lure my network into clicking dangerous links.

🚨 If you received one of these messages from me, please don’t click the link 🚨

Obviously, it’s a scam.

When I finally got my account back, I had lost over 4,000 followers. Months of hard work, gone, just like that.

I’m sharing this because I don’t want anyone else to experience what I did. It could happen to any of us.

Here’s what you can do to protect yourself:

1. Strengthen your passwords

   Use unique and complex passwords for each account, and change them regularly.

2. Set up two-factor authentication

   This adds an extra layer of security to protect your accounts

3. Be cautious of unexpected links

   Don’t click on links or attachments from unfamiliar senders, even if they seem trustworthy.

4. Monitor your account activity

   Regularly check your account for any suspicious logins or changes you didn’t make.

5. Keep your software updated

   Ensure your devices and apps are up to date with the latest security patches.
   
   

If it happened to me, it could also happen to you.

Please take these precautions seriously, and if you haven’t already, make sure your accounts are secure.

Until next time,

Stay safe!

Pete

P.S. Please share this post with someone who could benefit from it.

Let’s connect on:

Linked in

X

Share

In today’s world, brands aren’t winning by spending the most.

They're the ones who know how to get people talking about them.

Because that’s where real growth happens.

Now, picture this: Your customers aren’t just buying your products.

They’re actively sharing your story and turning you into a household name.

It’s not a dream, it’s a plan. And it starts now.

Here are 3 strategies to turn your brand into the one people can’t stop raving about.

1. Create shareable experiences 📣

Nike Run Club isn’t just about selling shoes.

It’s about building a community through apps, events, and challenges.

Nike makes it easy for people to share their experiences, which keeps them talking.

How can you create an experience so engaging that customers want to share it?

ChatGPT Prompt:
“What are some creative ways [your company/sector] can create shareable experiences that get customers talking?”

2. Leverage influencers authentically 🤝

Gymshark didn’t grow by paying for influencer posts.

They built long-term relationships with athletes who genuinely love the brand.

That’s what keeps people sharing and coming back.

How can your brand create partnerships that resonate?

ChatGPT Prompt:
“What strategies can [your company/sector] use to develop authentic, long-term influencer partnerships?”

3. Deliver exceptional customer service 🏆

Amazon's customer service is famous for its "customer-first" approach.

They offer instant refunds, easy returns, and speedy problem-solving.

Their hassle-free system ensures people keep coming back and spreading the word.

How can your customer service stand out and become shareable?

ChatGPT Prompt:
“What are some innovative ways [your company/sector] can deliver customer service that creates loyal advocates?”

Bonus Prompt:
“What are three effective strategies for amplifying word-of-mouth marketing for a brand like [your company/sector]?”

I hope you find this useful.

These strategies can drive organic buzz and growth for your brand without increasing your ad spend.

If you have any questions or want to explore how your brand can stand out, reply to this email.

Until next time,

Pete

Welcome to the innovation lab 💡

“If you’re not using AI tools, you’re denying the future.”

— Keith Soljacich, Head of Innovation at Publicis

Keith’s words capture the essence of this week’s edition, where tech and creativity intersect in new ways.

After spending a few months in Ibiza, I’m back with fresh insights from the frontlines of culture and innovation.

Expect:

1. Inspiring stories of brands reimagining what’s possible.

2. Practical tools you can use to stay ahead in a rapidly evolving landscape.

How AI is empowering brands 🤖🚀

Reebok & Shaq's AI-Powered Campaign 🏀🤖

Reebok and Shaquille O'Neal teamed up with CCC in Poland for a new AI-driven campaign.

Through 10 dynamic videos, Shake the Cake agency blended product photography with AI-generated environments.

This showed how quickly AI can translate bold ideas into reality.

Verdict 💬

AI cuts both costs and timelines, empowering brands to execute ambitious campaigns with unprecedented speed.

Although some AI inconsistencies emerged, this ad shows how AI can scale creativity in ways that traditional methods can’t.

The future of fashion: Fan-created AI Adidas floral collection goes viral 🌸🔥

Blair Vermette of Rabbithole Studio used Runway to design an eye-catching floral-inspired Adidas line that doesn't actually exist.

The AI-generated ad went viral on LinkedIn, receiving over 100k views, 1,000 likes, 150 comments and 100 reposts, with many urging Adidas to produce the line.

Why it matters:

• 🕒 Time Savings: Quickly gauge market interest without lengthy development.

• 💰 Cost Efficiency: Validate ideas before production, reducing financial risk.

• 🌱 Sustainability: Avoid creating unwanted products and minimise waste.

If Adidas seizes this momentum with a simple post like"We heard you. Floral collection coming soon."—they could redefine how product lines are born.

For the full video, click here.

What’s going down in Web3 💻🌍

Doodles Shine at TIFF 🎬✨

Doodles set a new standard for Web3 creativity at the Toronto International Film Festival with the premiere of Dullsville and the Doodleverse.

Pharrell’s soundtrack and Burnt Toast’s creative direction turned heads, further solidifying Doodles as a leader in this space.

The project isn’t just entertainment, it’s a glimpse into how Web3 storytelling can reshape brand experiences.

Expect Doodles to continue raising the bar as they blend technology and culture in groundbreaking ways.

Watch it now on Doodlesᵗᵛ:Here.

Degen Distillery: Where community meets spirits 🍸💡

It’s interesting to see how Degen Distillery is doing things differently. With their latest launch, 721 Vodka, they’ve put the focus on community in a way that feels fresh.

What stands out is how customers aren’t just buying a bottle, they’re becoming part of the brand's story.

Every purchase comes with 721 $DRINK tokens, giving people a stake in the journey, plus a chance to win $15,000.

It’s a unique approach that really puts the power back in the hands of the community.

With backing from BrewDog and Google, Degen Distillery is showing how brands can build deeper, more meaningful relationships with their audiences.

For more info, visit: here

WRLD CHNGRS: Unlock your inner superhero 🦸‍♂️💥

Journaling has long been a tool for clearing your mind and organising your thoughts. But what if it could be more fun?

WRLD CHNGRS, built on Base, lets you create your own superhero while jotting down your ideas in one seamless experience.

It’s built with Crossmint checkout to allow for easy credit card payments.

It’s a new way to blend productivity and creativity, helping you brainstorm big ideas while exploring the superhero inside you.

Check it out here

Collaboration of the week 🤝✨

Bose 🎧

Bose’s latest campaign, "Hear it all. All the time.", brings together top artists Central Cee, Tyla, Don Toliver, and LISA to showcase how they integrate Bose Ultra Earbuds into their lives.

From backstage vibes to chilling on the tour bus, this collab highlights the intersection of top-tier talent and cutting-edge audio tech.

Watch it here

Innovator’s toolkit 📘

ChatGPT Prompts to try 💡

1. Map audience pain points to content solutions

"List the top 5 pain points faced by [your target audience] and suggest a content topic and type for each that addresses these challenges.

2. The 5 whys

“Use the Five Whys technique to identify the root cause of [Specific Problem] in my business."

New AI tool to try 👀

Meet Perplexity.ai: The future of search 🔎

Overview

Perplexity uses AI to make finding information faster and easier.

Unlike Google, Perplexity talks to you and gives clear, direct answers. No ads, no hassle, just what you need.

Value

⏱️ Instant answers: Summarizes info, saves time.

🚫 Ad-free experience: Quick access to quality information

💬 Conversational search: Ask naturally and get precise responses.

How you can get the most out of Perplexity

Step 1: Ask smart questions

• Frame your queries as specific questions. For example, "How can AI boost brand engagement?" or "What are the latest trends in marketing and AI?"

Step 2: Use follow-up questions

• Dig deeper with follow-ups like, "Which AI tools are best for brand owners?" or "How is blockchain being used in the music industry?"

Step 3: Verify with sources

• Ask Perplexity for source verification: "Can you show me the sources for this info?" This ensures the data is credible.

Final thoughts 💭🔍

Key Takeaways 📌

1. AI is the future 🤖💡

AI tools like Perplexity and ChatGPT are already shaping how we live and work. And just like Bitcoin is growing as fast as the internet did in its early days, these technologies are becoming impossible to ignore.

If you’re not experimenting with AI yet, now’s the time to dive in.

2. Collaboration elevates impact 🤝✨

From AI-generated fashion to Web3 storytelling, it’s clear that when brands partner with the right creators and technologies, they can break new ground.

3. Stay ahead of the curve 🚀🌍

Whether it’s community-first marketing or crypto, being on the cutting edge means being proactive. The future is moving fast—don’t wait to catch up.

How can I help? 🤔

• Promote your business: Sponsor this newsletter and get your brand in front of a smart, engaged audience.

• Use AI to maximise your marketing impact: Let’s collaborate to bring AI-driven innovation to your brand and accelerate your success

• Highlight your business: Let me help your product or campaign resonate by creating copy that truly connects with your target market.

Book a call with me here to get started.

Thanks for Reading! 🙏

If you enjoyed this edition, please share it with a friend or colleague who would also love it!

I’d love to hear your thoughts, just hit ‘reply’ and let me know what you think.

Until next time,

Pete

Share Next Wave Culture 🌊

Gm friends 👋

Just a quick heads up.

If you haven't heard of Journee, you're in for a treat 👀

They're all about making the internet more immersive, turning browsing into an experience that feels more like exploring new worlds than clicking through pages.

Image: Journee's Macy's Immersive Experience

Jordan's got a fascinating story.

He's gone from crunching numbers and strategizing in consulting to rocking the music scene, and now, he's diving pioneering the future of the internet with immersive commerce.

At Journee, he's part of a team that's reimagining how we interact online, making digital spaces where you can almost forget you're sitting in front of a computer screen.

Image: Journee's BMW Joytopia World 

This chat with Jordan is going to open your eyes to the amazing possibilities that immersive web technologies are bringing into our lives and why the work being done at Journee is something you'll want to keep an eye on.

If you're into tech, fascinated by the digital future, or just keen on creative innovations, Jordan's insights will surely ignite your imagination.

Let's dive deeper to uncover how Jordan's journey is transforming our digital world... 🌐🔍

Beyond the resume: What drives your creative side? 🤔

"I’m a creative at heart," Jordan reveals. "Beyond running my music record labels, I've sold art in Australia, had my art featured on a Swedish death metal band’s album cover (haha), and delved into NFTs.

I'm drawn to the unique and extraordinary, and feel most at home at artistic, music and cultural events - two of my favourites being Burning Man in Nevada and the Rainbow Serpent Festival in Victoria, Australia.

How’s your diverse background shaped your approach to Web3? 🤔

"My experiences in management consulting at KPMG, Deloitte, and AI, Web3 & SaaS startups as well as creative agencies has been invaluable," he states.

"They taught me business acumen, people skills, and the importance of good ol’ fashioned organisation, preparing me for the fast-paced and sometimes chaotic world of Web3, all while embracing the degen spirit."

What's cooking at Journee? 🤔

At Journee, we're at the forefront of immersive web experiences," Jordan explains.

"I'm currently focused on establishing and enabling our partner ecosystem to go to market with our JourneeX platform, built on Unreal Engine as the industry leader in creating immersive worlds using pixel streaming.”

Image: Journee's BMW Joytopia World

Image: Journee's H&M Virtual Showroom

Our work with BMW, H&M, Clinique, and more is what excites me most, pushing the envelope in how we interact online - making the internet beautiful, as well as more human and connected.”

Image: Journee's Clinique Virtual Lab

Can you elaborate on the potential of immersive commerce?🤔

"Immersive commerce is evolving from a novel concept into a proven catalyst for enhancing business value and driving ROI.

This transition is deeply anchored in robust business principles rather than mere tech novelty or marketing stunts.

It’s a great way to engage the younger generations whilst selling more products or services through an entirely new media.”

Image: Journee's Immersive Commerce experiences

Reflecting on Journee's triumphs, he adds:

"Our success stories are a testament to the vibrant potential of immersive commerce, showcasing its ability to drive substantial revenue and add meaningful value for businesses, whilst delighting customers and building community.”

Jordan views this as an exciting shift towards creating captivating consumer experiences that promise measurable business growth

Why choose Journee? What drew you to the company? 🤔

"Journee long stood out to me as the leader in immersive web technology and experiences, having come across them in my creative agency days working with luxury brands whilst at MA+ Group and Qulture.”

It offers a premium enterprise solution suite for all virtual experiences, with 0 tech access barriers - any device, any time, any where” he shares.

"The opportunity to work with a brilliant and driven team creating a new internet frontier was too compelling to pass up. It's a lot of fun (and of course hard work!) contributing to this paradigm shift."

Given your involvement in music, what has that journey been like?🤔

"Starting my label “Musique de Lune” during the pandemic was challenging, yet building a community around our artists and music has been incredibly rewarding," Jordan reflects. "

Choosing a favourite release is difficult but our first Various Artists (VA) “Rayons de Lune” holds a special place for me, where I was able to collaborate with my favourite artists around the world, with the support of my colabel heads JFR, Jim Rider, LUKE SANTOS 5.0 and Sturge - it was incredibly humbling and exciting.

One of my favourite more recent tracks is above from the talented artists out of Mexico and Greece - Hole Box, Plecta and Ilias Katalenos, entitled Emotional Things.”

Looking ahead, where do you see NFTs and blockchain making the most impact?🤔

"The loyalty and entertainment space is ripe for innovation," Jordan believes.

"NFTs offer a unique opportunity to forge deeper connections between artists and audiences and drive fandom with real utility, and blockchain as a technology has beneficial applications across every industry.”

Any Web3 projects or brands we should keep an eye on?🤔

"I may be biased, but I believe Journee's work is setting benchmarks in the industry," he says with a smile.

“Beyond Journee, I’m a big fan of anything in the immersive entertainment space that brings me closer to the things I love - especially art and music.”

Based in Lisbon, how do you view the local tech and crypto community?🤔

"Lisbon is magical," Jordan enthuses.

Image by CryptoSlate

"It's a nexus for culture, tech, music, and art, making it an ideal place for those passionate about innovation and community who enjoy the European vibes and sunshine."

AI's Rapid Development: Excited or cautious? 🤔

"AI's potential is enormous, but it requires ethical development and regulation," Jordan concludes. "We need frameworks to guide its growth, ensuring it enhances humanity responsibly.

At Journee we’ve been making magic with tools like Stable Diffusion, creating the world’s first real-time, prompt-enabled AI walk. As well as some fun tools like our Journee AI Lens

Jordan's insights offer a glimpse into the exciting convergence of fields in the digital age, highlighting the endless possibilities when technology meets creativity and human connection.

Step into the new era of tech and test drive Journee’s lens in real-time by visiting: https://labs.journee.live/lens

🔗 Links

Journee.live

Jordan on LinkedIn

Journee on LinkedIn

Jordan on Instagram

Thanks for reading this far🙏

Found value in this interview?

Please spread the word by sharing or liking below ❤️

I'm also interested to know who you'd like to see featured next.

So please tag your suggestion in the comments.

Until next time,

Pete

P.s If you are going to NFT NYC and want to link, send me a DM.

Back from a transformative month in Thailand, feeling incredibly inspired and energised 😁

A perfect blend of remote work, learning, networking and even book writing has left me refreshed and inspired.

Let's take a closer look at my trip..

Highlights included:

1. Trying Muy Thai.

2. Returning to Phuket.

3. Sampling endless Thai cuisine.

4. New friendships including Aviv and Janusz.

5. Hanging with the Pudgy Thailand / Asia community.

All of which were memorable.

🇹🇭 Thailand's crypto wave is rising 🌊

The "Blockchain To Government Conference" in Phuket showcased the exciting possibilities of these technologies.

Learning about the government's plans to release a National ID system on the Polygon network, aiming to make crypto access more democratic, was particularly interesting.

Envision a future where every Thai citizen is given some crypto currency.

Not for quick cash-outs, but for investing and flourishing in the digital economy.

The aim of this strategy is to provide everyone with a stake in the rapidly developing digital economy, fostering a culture of innovation and financial inclusion.

🤝 The power of community in Web3 🌐

As I interacted with the kind and welcoming Pudgy Thailand community in Thailand, I was also exposed to the unifying force of NFTs.

My first day in Bangkok included a Pudgy meetup where I was warmly welcomed and introduced to a futuristic co-working space called True Digital Park showcasing local artist Lonely Pop.

The Pudgy Thailand and Pudgy Asia teams invited me to a Web3 conference in Chiang Mai in northern Thailand.

Here I learned about the support they provide for local orphanages from impressive Penguina, Bamm Bamm. For me, this really embodied the spirit of support and kindness of the Pudgy community.

This journey has really shown me what the Pudgy community is all about: lifting each other up and spreading kindness.

I wouldn't have had these amazing experiences without my Pudgy Penguins NFT. It's not just a token—it's a passport to real, meaningful connections across the globe.

The founder of Pudgy Thailand, Nat Chittamai's readiness to introduce me to Pudgy Asia's wider network demonstrated the community's strong ties around the region.

This experience, coupled with the warmth of the Thai people, inspired me to write a children's book.

🐧"Ocean Breeze and Whizzy P: Adventures in Thailand"🇹🇭

The book follows 2 lil pudgy penguin pals, Ocean Breeze and Whizzy P (aka Alejandro Reyes-Knight), on their adventures in Thailand, teaching life lessons and celebrating Thai culture.

From hitching a ride on the back of a speedboat from Ibiza to scuba diving adventures, it's a tale filled with humour, wisdom, and a message of kindness, diversity, and environmental care.

The story is dedicated to shining a light on Thai culture and customs, educating kids about the rich heritage and traditions of Thailand. A story that hopefully inspires and entertains, perfect for young and old readers alike.

Inspired by my own Thai adventure, this book is a testament to the beauty of exploration and the importance of traditional Thai values.

We are currently working with a Thai artist to illustrate the front cover of the book, and plan to publish it as soon as it is complete.

As someone who’s passionate about bringing ideas to life, I’ve worked closely with top names in the Web3 world like Crossmint, MoonPay, Beatport.io and Exclusible, helping them introduce their products to the market. As with all startups, I have worn many hats from copywriter and partnerships to product market advisor.

If you're wondering how I can do the same for your project, hit reply to this email. I’d love to chat about turning your great idea into something real and successful. Let’s make it happen together!

Until next time,

Pete

P.s I am working on my biggest project yet in Ibiza, and I am excited to share more details with you in the very near future.

Fresh from a rejuvenating 3 month stint in Ibiza, I’m back to guide you through the latest emerging online trends.

As Web3 and AI evolve, I’m here to make sure you’re not watching from the sidelines.

Let's dive deep, shall we?

[📷 This is me @ Dan Ghenacia’s incredible @alphawaveexperience in Ibiza w/ @joycevond]

What’s Making Waves? 🤔

In today’s issue:

1. Sneaker Drop Alert 👟🚨

2. LV's Discord Debut 👜🌐

3. Pudgys Go Mainstream 🐧🌍

4. Remx: Community Builder's Dream 🛠️🤝

What You Need To Know 📚

1️⃣ Special Sneaker Release: Reserved for RTFKT NFT Holders Only 👟🔒

With Genesis Dunks, Nike x RTFKT fuse cutting-edge design with technology, providing a glimpse into the future of fashion.

They come in 3 designs - Dunk Genesis ‘OG’, ‘Void’ + ‘Clone X’.

At a price of $222, they are a must-have for collectors.

But there's more.

From October 18th to 30th, NFT holders have the unique chance to claim up to five pairs.

And for those without an NFT?

A special edition awaits at ComplexCon in Long Beach, California, this November.

On Chain Fashion: A New Era of Ownership 👗🔗

This collaboration fuses fashion with NFTs.

Beyond a sneaker launch, it redefines ownership by combining real products with digital assets.

It points to a future where exclusivity and digital rights interact seamlessly with real-world items.

👉 Dive deeper here

2️⃣ Louis Vuitton's Digital Dive: Engaging Luxury on Discord 👜🌐

Louis Vuitton (LV) is venturing into the world of Discord, marking a new chapter in luxury engagement.

This is an invitation to collaborate, engage in meaningful conversations, and build authentic relationships with their community.

Digital Evolution: Why It's Crucial 🌐🔍

In today's digital age, it's essential to connect with customers where they are, even if it means stepping out of your comfort zone.

The move by LV signifies the blurring lines between the physical and the digital, emphasising the importance of authenticity and spontaneity.

Lessons for Other Brands 📚💡

1. LV's Discord engagement is a tactical play to connect with a tech-savvy youth.

2. It highlights the importance for brands to adapt, engage genuinely, and meet audiences on their platforms.

3. In an era dominated by digital, brands need to embrace innovation and cultivate genuine relationships, much like Louis Vuitton's approach.

👉 Dive deeper here.

3️⃣ A Brave New World - Web3’s Fastest Growing IP Expands To Retail 🌍🐧

Big news! Pudgy Penguins are now available in 2,000 Walmart locations and many Smyths Toy Stores in the UK.

Hats off to Luca and the Pudgy Penguins for their recent Toy Insider 2023 award win!

Through their continuous efforts to onboard the public to blockchain technology and Web3 IP, they continue to bridge the gap between mainstream and Web3.

Now, just in time for the holidays, you can snag one both online and in-store.

After their successful digital sales and a notable debut on Amazon, this move showcases the exciting blend of digital and physical.

Every toy includes a distinct "digital birth certificate."

With a quick QR scan, you're transported to Pudgy World, where you can engage in games and interact with fellow penguins.

Through their approach, Pudgy Penguins positions NFTs prominently in mainstream markets, blending digital and physical effortlessly.

From Screen to Shelf: The Pudgy Penguins' NFT Success Formula 🖥️ ➡️ 🛒 🐧

What can other projects learn from the Pudgys?🤔

1. Social Media Boost: Use diverse content (videos, GIFs, memes) on platforms like Instagram for brand traction.

2. Engage Traditional Users: Offer tangible products that align with brand identity, like themed toys.

3. Web3 Integration: Combine physical items with digital assets using QR codes, introducing users to digital collectibles.

4. Engage Superfans: Transition them from tangible products to digital NFT ownership.

5. Community Collaboration: Actively listen to and co-create with the community, ensuring products and strategies resonate with their needs and desires.

To pick up a toy penguin:

👉 Click here if you’re from England

👉 Click here if you’re from America

Web3 Community Building? Meet Remx.xyz 🌐🛠️

Discover remx.xyz: The game-changer for artists, brands, and creators. If community growth is on your radar, this should be your next stop.

Why Choose Remx? 🌟

1️⃣ Tangible Rewards: Offer exclusive perks 🎁

2️⃣ Forge Genuine Bonds: Cultivate lasting relationships 🤝

3️⃣ Digital Delights: Reward with unique digital collectibles 🎨

4️⃣ Open Dialogue: Facilitate smooth two-way conversations 💬

5️⃣ Community Wisdom: Gain insights from leading communities 🎓

More than just a platform, Remx.xyz is the crossroads where creators, brands, and dedicated communities come together to establish real relationships

If you're a creator or a community strategist, don’t sleep on remx.xyz.

👉 Explore Remx.xyz Now

On a personal note.

With a desire to inspire, I've written a kids book on saving our planet.

It will featuring stories and melodies based around Ocean Breeze and Whizzy P, our Lil Pudgy penguins

Whilst in Ibiza, I recorded some penguin jams with my good friend Alejandro at the legendary Sonic Vista Studios.

For now, here's a teaser:

To stay in the loop, follow us on Twitter: here

That's a wrap for today's edition.

If you've read this far, big thanks. Stay tuned for more, and take care until next time.

Stay curious, explore, and see you next time.

Cheers,

Pete

x

Do you feel like you're just scratching the surface with Chat GPT?

You're not alone.

Many people are still cruising in 2nd gear, unaware of the turbo boost awaiting them.

Dive into these 7 handpicked prompts to supercharge your savings, fitness, diet, and overall life game! 💰🚀

1. Get Fit in Less Time 🏋️

Prompt:

"Create a 30-minute daily workout routine that can be done at home with minimal equipment, focusing on full-body fitness."

GIF By Peloton

2. Grow Your Wealth Through Investing 💰

Prompt:

"Outline a beginner's guide to investing in stocks, including key terms, strategies & potential risks, focusing on maximizing returns & minimizing losses."

GIF by FamilyFinanceMom

3. Spend Less When You Travel ✈️

Prompt:

"Suggest a 5-day travel itinerary for (specific destination e.g., Ibiza) that includes affordable accommodation, transportation, and activities."

GIF By Worldwide Internships

4. Save Money By Automating Your Finances 💳

Prompt:

"Explain how to set up automatic payments, savings, and investments to streamline personal finances and avoid late fees."

GIF By Pepephone

5. Prep Nutritious Meals Affordably 🥗

Prompt:

"Design a 7-day meal prep plan to help me build muscle and lose weight that includes breakfast, lunch, and dinner, focusing on healthy and budget-friendly ingredients."

GIF By Superfit Foods

6. Reduce Stress With Mindfulness Practices 🧘

Prompt:

"Provide a guide to daily mindfulness practices that can be done in 10 minutes or less to reduce stress and enhance well-being."

7. Go Green And Make A Difference 🌱

Prompt:

"Outline ways to incorporate sustainable practices into daily life, such as reducing plastic use, conserving energy, and composting."

🤔 Which of these prompts was the most useful?

Whether you're looking to get fit, save money, or make a positive change in your life, I hope these prompts spark some inspiration.

Feel free to reply to this email or hit me up on Twitter @NextWaveCulture. I'd love to hear your thoughts or see how you're putting these prompts into action.

Have a great weekend! ☀️

Until next time,

Pete