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Rosalía has a new manager.
The Spanish superstar has signed with Jaime Levine of Seven Mantles for global management, sources tell Billboard. Rosalía was previously managed by Rebecca León of Lionfish Entertainment, with whom she parted ways this past February after a five-year relationship.
Levine spent over a decade managing global superstar Shakira but recently transitioned from management into a senior advisor role for the Colombian star on ongoing projects, sources say. By all accounts, the two continue to have an amicable professional and personal relationship. Shakira, who was named Billboard’s Woman of the year during the first-ever Billboard Latin Women In Music event in May, is currently recording a new album and planning a new tour for 2024. She is slated for a star Q&A at Billboard’s upcoming Latin Music Week.
Rosalía’s albums have earned a combined 747,000 equivalent album units in the United States, according to Luminate, with 880 million on-demand official streams across her catalog, 84,000 albums sold and 98,000 song downloads.
She also has seven entries on the Billboard Hot 100, the latest of which — “Beso” with Rauw Alejandro — is her highest-charting there, peaking at No. 52. She also has 21 entries on Hot Latin Songs, including seven top 10s; 10 entries on Latin Airplay, of which eight reached the top 10 and seven hit No. 1. Her 2022 release, Motomami — her third studio album — ruled Latin Pop Albums for 25 weeks, making it the longest-leading Latin Pop set this decade. The album earned Rosalía her first and only entry on the Billboard 200, debuting and peaking at No. 33 in April 2022; it also received the Latin pop album of the year award at the Billboard Latin Music Awards.
Rosalía was poised to launch her international tour at the time of her split with León, with stops at major festivals including Coachella and Lollapalooza Chile and Argentina. The Spanish star continued successfully with her touring plans, amidst much speculation about who would eventually take over as her manager.
Rosalía’s Motomami tour, her first-ever global trek, included 66 performances in 21 countries across three continents. The “Saoko” singer performed to nearly two million people around the world, according to a press statement. The tour ended with a July 22 performance at Lollapalooza Paris, where Rosalía gave an emotional speech.
“The blessings that Motomami has given me are endless,” she told a crowd during the tour. “Many of you discovered me thanks to this project, thanks to this album. I’m so thankful to all of you. I don’t know what the next chapter will look like, there are some ideas but I don’t know. Only God knows.”
Over the course of 15 years, MPT Agency, founded by Raffi Keuhnelian and Anto Dotcom, has mastered the art of getting artists heard and discovered by fans across the globe. The music publicity, promotion and marketing agency serves as a bridge between music executives and artists that can create longevity by accelerating their careers. Together, Keuhnelian and Dotcom have grown an agency that has succeeded with a range of international acts from A-listers to garage bands. As they continue to grow this roster, they use digital tools to stay ahead of the curve.
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Artists have been finding their wings with the company since its first office opened in Montreal, Canada. Now the team works with acts from the three major labels as well as hundreds of emerging artists, shaping their stories and images they need to make their mark in the industry.
One of their many success stories is Colin Brittain, who went from being a hobbyist producer to supporting artists in their journey to the Billboard charts. After a brief exposure campaign and strategic collaboration with MPT Agency, the young producer built a presence that attracted collaborators including Papa Roach, 5 Seconds of Summer, and the Jonas Brothers.
This year has been defined by the explosion of non-western music markets. With a team of 20 across four continents, Keuhnelian and Dotcom have their eyes set on the next billion streamers. In 2023, MPT Agency worked with Warner Music Group, Universal Music Group and Sony Music Entertainment to ignite careers in Brazil, Germany, Mexico, Japan, Ukraine, Korea, and Nigeria. These efforts generated over 1.2 billion views a month and resulted in three major label signings. Most notably, MPT Agency recently supported K-pop group FIFTY FIFTY in its inclusion on the Barbie soundtrack. Keuhnelian and Dotcom’s efforts have proven that the music business is a global affair and they are leading the new trend.
Raffi Keuhnelian of MPT Agency
Chris Carpenter
As the music business continues to expand globally, consumption habits are evolving with it. MPT Agency’s hybrid approach combines exposure marketing and career development to help artists develop sustainable careers in a modern music landscape that prizes virality. “Premium streamers are a niche of the past,” Keuhnelian explains, “Today the ultimate engaged fans are the communities, the listening groups, tastemakers, influencers, bloggers, and readers; they hold the balance of power in a song’s viral uptake. When it comes to igniting a career overseas, harnessing the power of these communities can build overnight empires if the sound is right.” MPT Agency approaches fanbase creation and growth by integrating artist branding with niche communities everywhere, from the traditional social media landscape of YouTube Shorts, TikTok & Instagram, to the self-propelled communities on Reddit, Discord and key music blogs.
The globalization of the music industry has been accelerated by technology, a fact that MPT Agency not only recognizes but incorporates into its mission. Dotcom and Keuhnelian further committed themselves to being ahead of the curve when they launched the Virtual Publicist service, which leverages AI, databases and more to streamline publicity campaign management and outreach. This unique platform gives users affordable and accessible support as they navigate their careers.
Anto Dotcom of MPT Agency
Chris Carpenter
“Artists and labels need to partner with us fully, or their tracks will miss the beat,” says Dotcom. “While leveraging their streaming presence to conquer global markets is just the beginning, it is the hands-on development we give debut artists that allows them to navigate those once-in-a-lifetime situations. Meeting managers, executives, and publishers—this is what the artist needs to do with the presence and exposure we are giving them. We build the foundations for what will be a chart-topping career and make sure their network is hooked on the message.”
In an ever-shifting market, Anto Dotcom and Raffi Keuhnelian have reimagined the path artists must follow to reach their dreams. If you are primed for the spotlight, look to leverage Keuhnelian and Dotcom’s marketing expertise by visiting MPT Agency and Virtual Publicist.
In August, Travis Scott fans on Reddit sprang into action. “$5 VINYL GO!” one user wrote in r/travisscott (234,000 members). The call-to-arms post came with a photo of a discount code that made buying the rapper’s double-LP Utopia — once $50 — about as costly as a gallon of milk in New York City. That price point proved irresistible: “This gon be my first vinyl why tf not,” one devotee responded. “Travis … gonna be selling 100k [in] his 4th week,” another added.
That fan wasn’t far off: Scott sold 88,500 vinyl copies of Utopia — 161,000 album-equivalent units overall — in the U.S. through his web-store in his fourth week atop the Billboard 200 albums chart, according to Luminate. Between the July 28 release of Utopia and Sept. 7, fans have snapped up more than 331,000 double LPs.
Vinyl album sales have been growing for 17 straight years, and in 2022 they accounted for $1.2 billion in revenue in the U.S., according to the RIAA. As the format has become more popular, a growing number of stars have moved to capture fan demand by releasing LPs of their own, often leading to eye-popping first-week numbers. What made Scott’s record rollout unusual was that some Utopia vinyl was available for $5 — both through bundle deals, where fans could get a record at that low price if they bought more than $120 worth of merchandise, and some stand-alone copies via discount codes.
At that price, many in the industry believe the rapper was not making a profit. One manager who spoke on the condition of anonymity says he was recently quoted around $7 a unit to manufacture an order of double vinyl. In a senior executive’s experience, “it costs $4 to make a single LP if it’s super bare-bones and you’re making a high quantity,” and more for a double LP. Throw in mechanical royalties, typically paid out on records at a rate of 12 cents per song, and it’s hard to imagine that a $5 double-record could make any money.
Even if Scott were selling some records at a loss, he’s not losing money overall: The rapper is famous for moving mountains of merch, some of which goes for a good deal more than $50. But the ability to offer up some records at $5 — $4.99 is the lowest price an album can be sold at and still count towards the Billboard 200 — shows the extent to which stars with fervent fan bases and formidable merch operations operate in a different world than most artists. And since an album’s streaming numbers usually dip as listener enthusiasm begins to wane after debut week, it’s possible that more artists might start to mark down records to help bolster demand and chart placement.
Luminate only receives data on total record sales, not the number of Utopia LPs sold at different price points. Scott’s label partner, Epic Records, directed questions about the rollout to the rapper’s manager, David Stromberg. Stromberg declined to comment on the record about vinyl pricing or sales strategy.
Executives say that selling some copies of Utopia at a 90% discount makes sense in certain circumstances. “We’ve lost money on individual album sales for chart position,” notes one marketer at a rival major label. A star could “spend $200,000 on ads and hope they convert [into streams],” the marketer continues. Alternatively, he suggests, “sell discounted albums, you lose money on those, figure it out on the back end, and hope the chart visibility helps with the overall story.”
“It’s a marketing exercise: In a genre [hip-hop] where streams dominate, be the only one to have a huge physical number,” adds another senior label executive not involved with Scott’s rollout. The price cut leads to a “sales bump and fan engagement.”
Sure enough, many rappers have ignored the vinyl wave. Steve Harkins, vp of sales and marketing at the distributor Ingram Entertainment, told Billboard earlier this year that “labels have said they’ve had challenges convincing artists and management to release their titles physically in some cases,” leading to a shortage of new albums on vinyl from rappers.
There are exceptions to this rule: Tyler, the Creator, has sold more than 360,000 LPs from across his catalog already this year, according to Luminate, while Kendrick Lamar has sold close to 270,000. But Luminate data show that at more than half a dozen rap albums that earned more than 500,000 album-equivalent units in 2022 had no vinyl component, including a pair of Drake releases, Lil Durk’s 7220, and Polo G’s Hall of Fame.
In August, Stromberg explained to Billboard that rap faces “inherent disadvantages” when it comes to “manufacturing physical music product.” “Due to the fluid nature of rap collaboration, leak culture and last-minute changes, vinyl lead time always far exceeds album delivery dates for rap,” he continued. “Pop artists are usually able to turn in their albums five to six months early and manufacture a significant amount of vinyl with a robust retail plan in place. Vinyl often ends up accounting for well over 50% of these pop artists’ first-week totals, whereas hip-hop is judged entirely on streaming.”
Key components of the Utopia rollout, Stromberg added, were “manufactur[ing] our own vinyl” and crafting “an e-com plan to leverage day-and-date physical music for the first time in modern mainstream rap.” So far, so good: Utopia recently passed Taylor Swift‘s Midnights (around 318,000 copies) to become the second biggest-selling vinyl album of 2023, behind only another Swift release, Speak Now (Taylor’s Version) (roughly 368,000).
And the big discount on Utopia helped some first-time vinyl buyers pull the trigger, according to their Reddit comments. “I am such a cheap ass,” one fan wrote on r/travisscott, “… but I actually bought a vinyl today because you can’t even get crappy vinyls for $5 nowadays. What a steal.”
“I don’t even buy vinyls,” another fan responded. “But $5 is $5.”
Roc Nation veteran Ty-Ty Smith and London-based musician and A&R executive Shabz Naqvi have joined with Universal Music to form a new label venture dedicated to Desi Trill, a new genre that incorporates South Asian music with hip-hop. UMG said the first release from the label, called Desi Trill Music, will arrive next month with […]
The algorithms continue their takeover: On Tuesday (Sept. 12), Spotify rolled out “daylist,” a “hyper-personalized, dynamic” playlist that updates throughout the day to “bring together the niche music and microgenres you usually listen to during particular moments in the day or on specific days of the week.”
Daylist is now available in the U.S., Canada, the U.K., Australia, New Zealand, and Ireland, according to Spotify’s announcement. The playlist updates several times “between sunup and sundown.” After that, who knows — listeners may have to choose their own music for a few hours before bedtime.
Spotify was once known for its editorial playlists like Today’s Top Hits and Baila Reggaeton. Since these functioned much like radio, concentrating a lot of listener attention on the same handful of songs, they were watched closely in the music industry. Placements were eagerly sought after due to their ability to drive a lot of streaming activity.
But since at least 2019, Spotify has been increasingly focused on rolling out auto-personalized playlists. That year, the service took collections like Beast Mode and Chill Hits, which previously had been the same for all listeners, and personalized them “for each listener based on their particular taste,” according to a company press release. (This change did not affect the biggest editorial playlists.)
Spotify found that this shift had three effects. Most importantly for the streaming service, listeners tuned in to personalized collections for longer. This is notable: Users were more likely to keep playing songs that Spotify fed to them based on their previous listening habits, rather than tracks selected by editors. Chalk one up to the machines.
In addition, the drive towards personalization meant that the streaming wealth was spread across more acts — raising “the number of artists featured on playlists by 30% and the number of songs listeners are discovering by 35%,” according to the company’s announcement. “We found that, after discovering a song through a personalized editorial playlist, the number of listeners who then seek out the track on their own for repeat listens is up by 80%,” Spotify’s blog post continued. “In fact, the average number of times a listener saves a track is up 66%.”
Personalization has become more important than ever in the age of TikTok, which is constantly praised for its ability to discern small differences between users’ preferences and serve up videos that keep them scrolling. “Everything on TikTok feels like it was meant especially for you,” one music executive told Billboard last year.
Daylight is Spotify’s latest attempt to generate that same feeling.
“You’re ever-changing,” the company wrote, “and your playlists should be too.”
Kehlani signed with Wasserman Music for global representation, with agents Brent Smith and Eli Gelernter serving as her representatives at the company. The signing follows the singer-songwriter’s extensive world tour supporting her most recent album, Blue Water Road.
K-pop group RIIZE signed with RCA Records via a partnership between the U.S. label and Korea’s SM Entertainment. The group’s first release under the new deal is the single “Get A Guitar,” released on Sept. 4.
Rising country star Zach Top signed with independent label Leo33. Top is managed by Bob Doyle and Associates with booking representation courtesy of Jay Williams at WME.
Lay Zhang, a popular Chinese artist, producer, actor and dancer, signed to Warner Music China. Zhang, who debuted as a member of Korean-Chinese boy band EXO before launching a solo career, is managed by Zhang Yixing Studio.
Warner Music Central Europe signed its first digital artist, Noonoouri, and released her debut single, “Dominoes” featuring German DJ Alle Farben, on Sept. 1. Noonoouri’s voice, based on a human singer’s voice, was created using artificial intelligence. The songwriters and producers on “Dominoes” will receive royalties and publishing splits, according to the announcement of the signing in The Independent.
Chrysalis Records signed several new artists: British singer-songwriter Liz Lawrence, better known as one-half of electro-pop duo Cash + David, who is set to release her first EP on the label on Sept. 29; New York art-punk band Bodega, which will release a new album early next year; British vocal harmony group The Wandering Hearts, who will also release a new album next year; pop artist Gia Ford, who just released her new single, “Alligator,” and will put out her debut album on Chrysalis next year; and British singer-songwriter Marika Hackman, who released her latest single, “No Caffeine,” on Wednesday (Sept. 6) and will also put out an album in 2024.
Kyle Dion — whose music is described in a press release as a “blend of heartfelt R&B soul-pop” — signed a global label deal with Position Music. His latest single, “Boyfriend Jeans,” was released by Position on Aug. 25. Dion is represented by Brandon Hughes of Revel Talent Agency for booking and Lauren Camp of On Camp for management.
Alt-punk band 408 signed a multi-album deal with Los Angeles-based alternative label Big Noise, which will release the group’s next single, “Break Up With Your Girlfriend,” on Sept. 29. The band is managed by Nick Bailey, with booking representation by Jason Parent; it was previously signed to Regime Music Group.
Fievel Is Glauque, a group centered around American keyboardist Zach Phillips and French singer Ma Clément, signed to Fat Possum Records, which released its new singles, “I’m Scanning Things I Can’t See” and “Dark Dancing,” on Aug. 15. The band is managed by lucas@abusiness.company and Adam Ogushwitz at UTA for booking.
MNRK Music Group signed Los Angeles-based songwriter-producer Shawn Mackey, aka Pressplayy, to its producer and songwriter management roster. Pressplayy has collaborated with artists including Jeremih, Jadakiss, Quavo, Chris Brown, E40, Jeezy and more. He also boasts a producer partnership with Mally Mall; together, they’ve produced hits for artists including Justin Bieber, Akon and Roy Woods. Pressplayy most recently collaborated on a gospel album for the late rapper DMX.
San Francisco Bay Area singer-songwriter Maria BC signed to Sacred Bones, which will release their sophomore album, Spike Field, on Oct. 20. The label released Maria BC’s dual single, “Amber/Watcher,” on Aug. 29. Maria BC is represented for booking by Maxwell Cann at Anniversary Group in the United States and Guillaume Brevers at Hometown Talent in the United Kingdom and Europe. They were formerly signed to Father/Daughter Records.
Comedy/music duo Austin & Colin signed to BMG/BBR Music Group, which released the duo’s new track, “Guilt Tippin’,” on Sept. 1. Austin & Colin is managed by Peter Strickland and Craig Campbell at Marathon Talent.
Country-folk artist Colby T. Helms, who hails from the Blue Ridge/Appalachian Mountains region, signed with Photo Finish Records. The label will release Helms’ debut single, “Higher Ground,” on Wednesday (Sept. 13). He is represented by Ramseur for management and New Frontier Touring for booking.
The Digital Media Association (DiMA), the trade group representing digital music streaming services, has tapped Graham Davies, CEO of U.K. songwriters advocacy group The Ivors Academy, to become its next president and CEO beginning this fall. “Graham has long championed initiatives that bring the music industry together through collaborative discussion and action,” DiMA’s board of directors said […]
Global organization of music publishers the International Confederation of Music Publishers (ICMP) has partnered with piracy tracking company MUSO on a new ICMP Anti-Piracy Platform (APP) that aims to combat unlawful uses of member companies’ musical works. ICMP’s membership of major and independent music companies spans the globe, encompassing 76 national trade associations on six […]
The Harlem Festival of Culture was supposed to be a celebration of music and coming together, inspired by the Academy Award-winning documentary Summer of Soul directed by Ahmir “Questlove” Thompson — but a recent lawsuit filed in New York paints a picture of an event plagued by in-fighting and mistrust between the event’s three founding members.
On Thursday (Sept. 8), two of the members of the Harlem Festival of Culture LLC — editor and activist Musa Jackson (who appeared in Summer of Soul) and culture and lifestyle entrepreneur Nikoa Evans filed suit against partner and co-founder Yvonne McNair, accusing her of mounting “a hostile takeover” of the festival, scheduled to take place July 28, 29 and 30 on Randall’s Island in New York.
McNair plans to fight the lawsuit, telling Billboard, “I have worked tirelessly over the past several years to bring the Harlem Festival of Culture to life. I am relying upon my legal team to guide this process and I will be in touch with factual updates in the future.”
The festival was to be hosted by MC Lyte and feature performances by Adam Blackstone, Eric Bellinger, Jozzy, MAJOR., Ma$e, Remy Ma, Ro James, Tink and Wyclef Jean — with a special concert series leading up to the festival to be held at Harlem’s famed Apollo Theater. The event was canceled hours before it was set to open on July 28 due to President Joe Biden’s heat advisory for the weekend, which was the first-ever national hazard alert for heat issued by the White House.
The lawsuit paints a picture of a festival in constant turmoil beginning in February of this year as McNair began courting sponsors for the event, booking talent and contracting production companies to produce it. Jackson and Evans accuse McNair of diverting festival funds to accounts McNair controlled while McNair accuses Jackson and Evans of misappropriating funds and claims that a charitable donation of $125,000 had gone unaccounted for.
Jackson and Evans eventually informed McNair that their combined votes gave them majority control, demanding McNair get their approval for any sponsorship or booking agreements she negotiated. On April 19, Jackson and Evans ordered McNair to postpone the launch of ticket sales for the Harlem Festival of Culture. With the event suspended, McNair allegedly attempted to rename the event “Uptown Fest” and move forward with the festival. Eventually, the NYC Parks Department, AMC and Ticketmaster staged an intervention and demanded the three partners resolve their disagreement, leading to a settlement on May 22.
The truce didn’t last long, and within a few days, disagreements over vendors, sponsors and how much artists were being paid to perform at the festival reignited the feud and led to new complaints from Jackson and Evans over how McNair was advising vendors to prepare for the event. The pair even criticized McNair for waiting too long to cancel the festival after learning of the heat advisory.
Jackson and Evans, through their lawyer Kenneth Sternberg of Sternberg Law, are suing McNair on 15 civil counts including breach of contract and breach of fiduciary duty. They are also seeking “a judgment declaring that McNair is solely responsible for any liability” linked to any transactions or contracts that Jackson or Evans didn’t personally approve of, “regardless of the name in which the contract was signed.” Sternberg is also asking that McNair be forced to pay $2 million for punitive and compensatory damage, plus interest.
During his tenure at Google in the early 2000s, Shuman Ghosemajumder‘s official title was global head of product, trust and safety. But he also acquired a snazzier moniker, “click fraud czar,” thanks to his efforts to combat bad actors who try to fake online activity to inflate advertising payouts.
“It was very surprising to us, almost 20 years ago, when we saw organized crime getting involved with online fraud,” Ghosemajumder says. “Ever since then, I’m never surprised: The idea of cybercrime or online fraud coming from an individual hacker sitting in their bedroom hasn’t been the case for basically 30 years.”
Criminal interest in a different type of click fraud drew the attention of the music industry this week, when the Swedish paper Svenska Dagbladet published a piece alleging that the country’s gangs use streaming manipulation as a way to launder money earned via illicit activities. “Spotify has become an ATM for them,” an anonymous police investigator told the paper.
“That article appears to point to a really kind of ingenious way of laundering money,” says James Trusty, a former federal prosecutor who worked on cases involving both computer fraud and money laundering. “It seems to me to be a fairly invisible process right now, and that poses serious challenges to law enforcement.”
“It’s the usual chase,” he adds. “The robbers come up with something new, and the cops eventually catch up.”
In a statement to Svenska Dagbladet, a rep for Spotify told the paper that “manipulated streams are a challenge for the entire industry,” one that the platform “is working hard to combat” via “market leading” technology. On top of that, the rep said Spotify has discovered no evidence that it is being used as a money laundering tool.
If additional criminal activity is discovered on streaming platforms, could that bring new pressure to the music industry to address streaming fraud — something many believe is long overdue?
The article arrives at a time when executives from around the music industry are calling for better monitoring of the streaming ecosystem. “As an industry, we need to do more to harden the defenses of platforms and deter bad actors from using music streaming for criminal purposes,” Beatdapp co-CEOs Morgan Hayduk and Andrew Batey said in a statement. (Beatdapp makes fraud detection technology.)
Svenska Dagbladet‘s report is hardly the first time connections have been drawn between criminals and the music business. Industry history books are sprinkled with gangsters, especially in the earlier decades before it consolidated and became increasingly corporate. In one of the most infamous episodes, the longstanding practice of paying for airplay drew government scrutiny after a 1986 NBC report linked prominent radio promoters with members of the mafia.
But the resulting investigation ended up having little impact and ultimately fizzled out. In the book Hit Men, which catalogs this period, Fredric Dannen wrote that the lesson for the record business was that “the government is incapable of sending any major music industry figure to jail.” Paying for airplay continued unchecked for more than a decade.
The practice of paying for artificial streams has only recently drawn public criticism in the U.S. music industry. Streaming manipulation has the potential to distort market share calculations and steer money away from the hardworking artists who are not gaming the system. Both Universal Music Group CEO Lucian Grainge and Sony Music CEO Rob Stringer have expressed concern about fraud in calls with financial analysts this year.
“Once someone like Lucian Grainge makes a statement about it, it’s necessarily going to get more prominence,” says one streaming service executive who agreed to speak about manipulation on the condition of anonymity. “That’s not to say we weren’t dealing with it behind the scenes before Lucian was making statements. But now there is broader recognition of the scope of the problem and the impact that it has on revenues and royalties that should be, but have not been, paid through to legitimate artists.”
Potential connections between streaming manipulation and criminal elements were raised last year at a pair of music industry panels, first at South by Southwest and then at the Music Biz conference. Michael Pelczynski, who was then SoundCloud’s vp of strategy, participated in both discussions. “We were able to see signs of such activity” by collaborating with Pandora/SiriusXM and the cybersecurity company HUMAN, he says. “The benefit of creating a coalition with a third party was they could puzzle together certain patterns that we as individual platforms could not.”
Streamers try to work backwards from anomalies in the data, trawling for “potential bad actor networks,” as Pelczynski puts it, and trying to prevent them from “migrat[ing] from platform to platform.” Svenska Dagbladet took a different approach, speaking to several criminals who claimed to have direct knowledge of the laundering scheme.
The paper reported that Swedish gangs take criminal profits, convert them into cryptocurrency, use that to buy fake streams for artists they’re connected to, and then collect the royalties. They lose some money in the process by paying for fake streams, but the royalties they extract from the music industry are now “clean” — they can’t lead back to anything gang-related.
“There is always a cost in money laundering,” Trusty explains. But even if it’s a really high transaction cost, it still puts you in a position where you have untraceable, usable profit. And so the key for any real money laundering operation is volume. The article seems to be pointing out that this is something that’s kind of an institutional mechanism for these gangs.”
Trusty was not surprised to hear about the results of Svenska Dagbladet‘s reporting. “Anytime you have technological developments, somebody’s going to figure out a way to take advantage of those in a bad way,” he continues. “It’s eventually in the industry’s interest to lean forward and figure out how to work with law enforcement to close this gap that’s being exploited.”