Sectarian violence in the predominantly Druze city has resumed in force with deaths reported in the dozens.
Fighting between Druze armed groups and government troops has continued in the southern Syrian city of Suwayda, with a ceasefire in tatters, as Israel launched further strikes on Syrian forces and warned it would escalate unless they withdrew.
The sectarian violence in the predominantly Druze city resumed in force on Wednesday, despite the announcement of a ceasefire by the Syrian government the previous night, Syria’s defence ministry told Al Jazeera. Ministry officials blamed groups “outside the law” for breaking the ceasefire and attacking government troops, who they said were responding to fire while taking into account rules of engagement to protect civilians.
Speaking from Damascus, Al Jazeera’s Osama Bin Javaid said that following Tuesday’s ceasefire announcement, the situation had “spiralled out of control once again”.
He said at least 70 people were believed to have been killed in the fighting so far, while the U.K.-based war monitor Syrian Observatory for Human Rights says that more than 250 people had been killed, as of Wednesday morning, including four children, five women and 138 soldiers and security forces. The observatory added that at least 21 people were killed in “field executions.”
“The situation on the ground is [in] that the city centre itself there are sporadic clashes, but on the outskirts there’s a lot of fighting that has been happening between these Druze fighters and [government] forces,” Bin Javaid said.
On top of the clashes on the ground, Israel, which sees the Druze minority as a potential ally and has been attacking Syria under the pretext of protecting the group, has continued its air strikes on Syrian troop positions around Suwayda, with at least seven strikes launched on Wednesday, he said.
Israel’s Defence Minister Israel Katz on Wednesday warned the Syrian government on to leave the Druze alone and withdraw its forces from Suwayda, or it would ramp up its strikes.
“As we have made clear and warned — Israel will not abandon the Druze in Syria and will enforce the demilitarisation policy we have decided on,” he said, adding that it would escalate its activity “if the message is not understood.”
Syria has condemned Israel’s intervention as a violation of international law as have several Arab nations.
The outbreak of violence in the southern city on Sunday was triggered by a wave of recent kidnappings and attacks between local Sunni Bedouin tribes and Druze armed groups, including the abduction of a Druze merchant on Friday on the highway linking Damascus to Suwayda, witnesses told the Reuters news agency.
Syria’s Druze population numbers about 700,000, with Suwayda home to the sect’s largest community. Bedouin and Druze factions have a longstanding feud in Suwayda, with violence occasionally erupting.
Bin Javaid said that tensions in the latest outbreak of violence had been inflamed by material of killings and abuses posted on social media. “That created a flurry of reaction… from both sides,” he said.
Since the overthrow of longtime Syrian ruler Bashar al-Assad in December, concerns have been raised over the rights and safety of minorities under the new authorities, who have also struggled to re-establish security more broadly.
“Since this government took charge, the Druze have not really accepted them as the government that will look after their aspirations and hopes as well,” said Bin Javaid.
Clashes between troops and Druze fighters in April and May killed dozens of people, with local leaders and religious figures signing agreements to contain the escalation and better integrate Druze fighters into the new government.
The Druze developed their own militias during the nearly 14-year ruinous civil war. Since al-Assad’s fall, different Druze factions have been at odds over whether to integrate with the new government and armed forces.
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Police in India have arrested a man in connection with the death of Fauja Singh, the world’s oldest marathon runner, in a hit-and-run case.
According to the police, the accused, Amritpal Singh Dhillon was driving a speeding SUV when he struck the 114-year-old British-Indian runner. Singh sustained critical injuries and died shortly after being taken to hospital.
The incident took place in the northern state of Punjab on Monday, where Singh was out on his afternoon walk.
Singh, a global icon, set records by running marathons across multiple age categories, including when he was over 100. He began running at 89 and ran nine full marathons between 2000 and 2013, when he retired.
A white-coloured SUV, allegedly used in the incident, has also been recovered by the police.
The hit and run occurred near Fauja Singh’s birth village of Beas Pind, close to Jalandhar city.
Police said Singh was crossing a road when he was struck by a vehicle. Locals rushed him to hospital, where he later died.
In 2011, he reportedly became the first person over 100 to finish a full marathon, in Toronto. He also carried the Olympic torch at the 2012 London Olympics.
Despite his achievements, Guinness World Records could not recognise him as the oldest marathon runner because he did not have a birth certificate from 1911.
The BBC earlier reported that Singh’s British passport showed his date of birth as being 1 April 1911, and that he had a letter from the Queen congratulating him on his 100th birthday.
Guinness said they wanted to give him the record but could only accept official documents from the year of birth.
His marathon trainer had earlier said that birth certificates were not issued in India at the time.
His running club and charity, Sikhs In The City, said its upcoming events in Ilford, east London, where he had lived since 1992, would be a celebration of his life and achievements.
As a young boy, Singh was often teased in his village in Punjab because his legs were weak. He couldn’t walk properly until the age of five.
“But the same boy, once mocked for his weakness, went on to make history,” he told BBC Punjabi in June.
Singh never went to school and didn’t play any sports growing up. He worked as a farmer and lived through both World Wars and the turbulent partition of India.
“In my youth, I didn’t even know the word ‘marathon’ existed,” he said.
He started running much later in life, after going through deep personal loss.
In the early 1990s, after his wife died, Singh moved to London to live with his eldest son. But during a visit to India, he witnessed his younger son Kuldeep’s death in an accident, which left him devastated.
Back in the UK, Singh was overtaken by grief. One day, during a visit to the local gurdwara in Ilford, he met a group of older men who went on regular runs. That’s where he also met Harmander Singh, who later became his coach and his journey as a runner began.
Singh shot to international fame when Adidas signed him for their 2004 Impossible is Nothing advertising campaign, which also featured legends such as Muhammad Ali.
The history of mankind is bursting with plenty of scientific breakthroughs that have marked our evolution, such as the invention of the wheel, the Gutenberg press, the telephone, penicillin… Some of those discoveries were the result of the accumulation of knowledge and others were complete serendipities, but the truth is that each of those innovations changed our world forever.
Nowadays, the exponential growth behind those discoveries is almost frightening. According to the scientist Ray Kurzweil, at this rate, the incoming breakthroughs of the XXI century will seem like going from painting the walls that adorn the caves of Altamira to walking on the Moon in just one generation. A frenzied pace out of which we highlight these 8 science and technology advancements that may be key.
In this article you will learn about the following developments:
AI exemplifies how a series of quantitative scientific changes can culminate in greater scientific advances. Although the concept of artificial intelligence had been in use since the mid-20th century, it wasn’t until the second decade of the 21st century that it truly gained momentum. Tools like ChatGPT or Midjourney have seamlessly integrated into users’ daily lives, akin to the Internet’s widespread adoption as a mass communication system in the 1990s.
Nevertheless, the most significant developments are on the horizon. The rise of multimodal artificial intelligence will enable the interpretation of texts, images, and videos interchangeably. Furthermore, it will prove to be a vital ally in the field of robotics, fostering the creation of autonomous machines. Here are some of the most promising applications:
Manufacturing industry: The use of AI robots in factories or their application in logistics will multiply industrial productivity.
Health: AI will be able to assist medical specialists in the analysis of images to detect ailments.
Agriculture: AI’s predictive capabilities will make it possible to prevent pests and optimize the use of water resources and fertilizers.
Energy: The application of artificial intelligence to Smart Grids will lead to a more efficient allocation of energy resources.
Archaeology: AI will be able to analyze satellite imagery to detect patterns of human activity and ancient settlements.
Environmental protection: AI is a formidable tool for generating climate models and monitoring pollution levels.
Big data: The big picture of information
If artificial intelligence has achieved the aforementioned remarkable trajectory, much of its success can be attributed to the prevalence of big data. This refers to the existence of vast amounts of both structured and unstructured data, experiencing exponential growth, which can be analyzed to identify patterns and predict events. Presently, governments and businesses harness the power of big data to enhance services for citizens and consumers, ensuring more effective outcomes. Here are some noteworthy examples:
Navigation and mapping systems: Providing accurate routes and real-time time estimates.
Customized medicine: Helping to analyze genomic data for personalized treatments.
Smart cities: Optimizing traffic, waste management, and safety using urban data.
Industry and manufacturing: Monitoring machinery to prevent failures and optimize production.
E-commerce: Analyzing purchase data to provide recommendations and predict trends on platforms like Amazon.
Quantum computing: A leap into the heart of matter
In March 2023, Intel and the Betty Moore Foundation declared the demise of Moore’s Law. Conceived in 1965, the law predicted a doubling of the number of transistors on a chip every two years. However, the constraints of miniaturization, now reaching two nanometers, necessitate alternative approaches to enhance computing power further.
The transition from bits—representing the current binary systems of zeros and ones—to qubits, incorporating an indeterminate state based on the principles of quantum physics, emerges as a mid-term solution. The progression of this technology appears relentless, underscored by Atom Computing’s announcement in 2023 of the first computer surpassing 1000 qubits. Such computers will wield unprecedented power, enabling them to execute tasks such as the following:
Simulations for the development of new drugs.
Improvement in artificial intelligence processes.
Route optimization and logistics.
Secure encryption.
More accurate weather forecasts.
Smart Cities: Rethinking where we live
The evolution of the Internet of Things has ushered in the era of smart homes, enabling the automation of parameters like temperature and humidity, all conveniently managed through a smartphone. However, increasingly, the cities themselves are becoming smarter with interconnected sensors communicating seamlessly. Smart Cities are aptly named for their ability to optimize processes through the Internet of Things.
Noteworthy examples include the efficient water management implemented in cities like Burgos. The future holds the promise of buses capable of navigating traffic seamlessly, energy systems overseen by Virtual Power Plants, and a plethora of technological applications geared toward forging more sustainable and efficient urban landscapes.
Nanotechnology: The essential is invisible to the eye
Nanotechnology is essentially the ability to shape the behavior of atoms and molecules and develop devices on a microscopic scale, the so-called nanorobots. The pioneer of this new approach was Nobel laureate Richard Feynman, who in 1959 proposed the possibility of writing the twenty-four volumes of the Encyclopaedia Britannica on the head of a needle. This required working at nanometer scales, i.e., one billionth of a meter. For example, the helical structure of DNA is two nanometers thick. One nanometer could hold seven oxygen atoms.
Today, nanotechnology is opening the door to scientific breakthroughs such as:
Nanorobots in medicine
Energy (high-efficiency photovoltaic panels)
New textile fibers
Purifying membranes
Ultra-sensitive sensors
New materials such as graphene
CRISPR: The era of gene editing
The 2020 Nobel Prize in Chemistry was awarded to Charpentier and Doudna for developing the CRISPR-Cas9 gene-editing technique. While nanotechnology is the ability to create new materials and devices at atomic scales, CRISPR offers something similar in genetics—the possibility of cloning, modifying, or deactivating genetic chains at will.
This technique makes it possible to locate DNA fragments in a cell and change them relatively cheaply. The acronym CRISPR stands for Clustered Regularly Interspaced Short Palindromic Repeats. And these are four of its most interesting applications:
Gene editing: Modification of genes to correct genetic mutations or insert specific genes to treat hereditary diseases.
Agriculture: Improvement of crops, making them more resistant to diseases or adverse environmental conditions.
Biology research: Analysis of genes and cellular functions, allowing the study of how specific genes affect organisms and biological processes.
Antiviral therapy: Fights viruses by modifying cells to be resistant to viral infections.
Today, the creation of artificial materials, whether through new alloys or nanotechnology, is helping to revolutionize our world. The production of ultra-light aerogels or nitinol, an alloy of nickel and titanium that has the memory to return to its original shape. These are two examples of an almost infinite field.
That said, one of the most promising scientific advances is the creation of metamaterials, or what amounts to the same thing: an artificial material with microscopic structures designed to control the movement of light, sound and other waves. As a result, they offer exceptional properties, such as bending light around objects or changing the direction of sound in ways that would seem impossible. These are some of their most exciting applications:
Advanced optics: The creation of lenses with unprecedented capabilities.
Sound engineering: Noise cancellation or acoustic enhancement systems.
Photovoltaic energy: Development of more efficient solar cells.
Electromagnetism: Creation of magnetic shields.
The conquest of outer space
Since the historic Apollo XI mission landed humans on the moon in 1969 during the space race era, the pursuit of sending humans to the moon or other planets took a backseat. Until the early 21st century, efforts were primarily directed toward the International Space Station (ISS) and uncrewed missions, including satellites and exploration of Mars and the Moon.
However, the landscape is changing with the entry of private companies into the space exploration arena and the endeavors of new players like India and China. The prospect of establishing human colonies on the moon or even Mars is now on the agenda. Notably, 2025 is anticipated to mark the first participation of a woman in a lunar mission. Concurrently, the launch of the James Webb Space Telescope, touted as the most advanced in history, continues to push the boundaries of our understanding of the cosmos. Here are some of the most ambitious space projects unfolding today:
Study of the composition of the asteroid Psyche by NASA space probe.
NASA’s Artemis II mission is to take humans to the Moon again.
JUICE project of the European Union for the study of Jupiter.
Launch of SpaceX’s Starship
Venus Life Finder (VLF) mission to detect life in the atmosphere of Venus.
NASA’s VIPER mission to search for water on the moon.
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US president’s remarks follow report saying he encouraged Kyiv to step up strikes inside Russian territory.
United States President Donald Trump has said Ukraine should not target Moscow after he reportedly asked Ukrainian President Volodymyr Zelenskyy if Kyiv could strike the Russian capital if he provided long-range weaponry.
Trump made the comments after The Financial Times on Tuesday reported that the US president had encouraged Zelenskyy to step up strikes deep inside Russian territory during their phone call on July 4.
The report, which cited two unnamed people familiar with the discussion, said Trump had also asked his Ukrainian counterpart whether he could hit Moscow and St Petersburg if supplied with weapons with enough range.
In response to a question on Tuesday about whether Zelenskyy should target Moscow, Trump told reporters at the White House that he should not.
Trump also told reporters that “we’re not looking” at providing Kyiv with longer-range missiles.
White House Press Secretary Karoline Leavitt appeared to confirm the discussion in a statement provided to multiple media outlets, but said it had been taken out of context.
“President Trump was merely asking a question, not encouraging further killing,” Leavitt said in the statement provided to outlets including ABC News and USA Today.
In a sharp pivot in his stance on the war, Trump on Monday announced that he would supply more weapons to Ukraine, and threatened to impose steep secondary tariffs on Russia’s trade partners if a peace deal is not reached within 50 days.
After returning to the White House in January, Trump repeatedly cast Washington’s support for Ukraine as a drain on the US and accused Zelenskyy of hindering efforts to make peace.
But the US president’s tone has shifted in recent weeks amid growing frustration with Russian President Vladimir Putin’s refusal to negotiate an end to his invasion.
On Tuesday, the Kremlin said Trump’s recent statements, including the threat of sanctions, were “very serious” and that it would need time to assess the situation.
“We certainly need time to analyse what was said in Washington,” Kremlin spokesperson Dmitry Peskov told reporters in Moscow.
“And if and when President Putin deems it necessary, he will definitely comment.”
The Trump administration on Tuesday advanced the struggle for control of the Corporation for Public Broadcasting, suing to remove three board members. The trio includes Tom Rothman, the longest-reigning movie boss in Hollywood as chairman and CEO of Sony Pictures Motion Picture Group.
The Department of Justice on Tuesday fired its latest salvo in the Trump administration’s battle for control of the Corporation for Public Broadcasting, suing three members of the board and calling them “usurpers” in the lawsuit.
The CPB, which oversees and distributes funding for public radio and television, has been locked in a legal standoff with President Donald Trump for months following an executive order that ended federal funding for National Public Radio (NPR) and the Public Broadcasting Service (PBS). The budget bill also aims to permanently defund the CPB and to claw back some $1.1 billion in already appropriated funding for fiscal years 2026 and 2027. CPB president and CEO Patricia Harrison has publicly contested the order, saying the CPB is “not a federal executive agency subject to the President’s authority.”
Trump tried to fire three board members, Sony Pictures Motion Picture Group chairman and CEO Tom Rothman, former attorney Laura Ross, and veteran public policy consultant Diane Kaplan, in April. The CPB issued a statement on June 8, claiming a court ruling confirmed its independence and their standing as board members. The CPB has continued to operate, convening meetings and voting on board matters.
Now, the DOJ is seeking to forcibly remove the trio, claiming they have “usurped their former offices as board members of the CPB” in continuing to act as board members.
The DOJ cited a legal tool in the lawsuit called “quo warranto,” which began as a common law writ in medieval England, the complaint states. The quo warranto action is “used to inquire into the authority by which a public office is held or a franchise is claimed,” the suit states.
According to the complaint, the quo warranto action can be used to oust people who wrongfully hold public or corporate office and refers to a 1928 case involving the government of the Philippines, which was formerly a territory of the United States. The DOJ’s suit claims the June ruling was a loss for the CPB and that Rothman, Ross and Kaplan are acting “as if the Court had ruled in their favor, instead of ruling against them.”
The suit claims the three have “usurped” their office.
“The subjects of this complaint have continued to operate in office despite their removal and subsequent failure to obtain legal relief protecting their old positions,” the DOJ said in a statement. “This litigation reflects the Department’s ongoing commitment to protecting the President’s core Article II powers, which include the authority to make personnel decisions regarding those occupying federal offices.”
Sony and the CPB did not immediately respond to a request for comment.
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US President Donald Trump said he has settled on another tariff deal – this time with Indonesia.
Trump said he had agreed to lower tariffs he had threatened on goods entering the US from Indonesia to 19%, in exchange for what he called “full access” for American firms.
Terms of the deal were not immediately confirmed by the southeast Asian country, which boasts a small but growing trade relationship with the US. A senior Indonesian government official said on Wednesday that a statement would be published soon, Reuters reported.
The pact is the latest to emerge after the White House unveiled a barrage of tariffs this spring, kicking off a flurry of trade talks over the duties.
After suspending his most aggressive tariff plans from earlier this year, Trump this month renewed his threats, sending warning letters to dozens of countries that he intended to start charging high tariffs from 1 August.
His targets included all of America’s biggest trade partners, including the European Union, Canada, Mexico, Japan and South Korea.
Indonesia also received a letter from Trump last week outlining plans for a 32% tariff on its goods, reportedly bewildering officials who had thought an agreement was close.
Trump said on Tuesday he had reduced that rate after a phone call with the president of Indonesia.
He said as part of the deal, Indonesia had agreed to lower its trade tariffs for products from the US, which America has complained were high for many agricultural products as well as certain manufactured goods.
“They are going to pay 19% and we are going to pay nothing… we will have full access into Indonesia,” he said.
The country has also agreed to purchase $15bn (£11.2bn) worth in US energy, $4.5bn in American agricultural products and 50 Boeing jets, he later wrote on social media.
Those figures are lower than those outlined in a trade deal Reuters had reported earlier this month was expected to be signed.
Indonesia ranks as one of America’s top 25 trade partners, sending about $28bn to the US last year, including clothing, footwear and palm oil.
Stephen Marks, economics professor at Pomona College in California, said the benefits of the deal to Indonesia “are more political than economic”.
“Certainly, [the US does] have some major imports categories from Indonesia – electronics, apparel, footwear, palm oil products which are used in cosmetics,” he said.
“Relative to total trade, the US is a significant importer from Indonesia, though not as great as some of its Asian trading partners.”
As well as Indonesia, the administration has announced agreements with just the UK, China and Vietnam. In all three of those cases, the deals left high US tariffs in place while key issues and terms went unconfirmed or unresolved.
Everett Eissenstat, a partner at Squire Patton Boggs whose served as an economic adviser during the first Trump administration, said he expected the White House to unveil more deals in the coming weeks, while noting that many countries appeared to have lowered their expectations of what they hope to achieve.
Trailblazers is an MBW interview series that turns the spotlight on music entrepreneurs with the potential to become the global business power players of tomorrow. This time, we meet Justin Garza, founder of talent management company, the Dream Adopters. Trailblazers is supported by TuneCore.
Justin Garza didn’t initially set out to become an artist manager, but “the universe” had other plans.
The founder of independent management company The Dream Adopters started his career as a singer and frontman, self-managing his own projects and navigating both the creative and business sides of the industry from day one.
After “hanging up” his own recording artist ambitions, Garza shifted into songwriting for others and became deeply embedded in the “Los Angeles pitch session scene”.
It was there that he says something unexpected happened; other songwriters and producers began approaching him to ask if he’d consider representing them.
“I took it as a sign to listen to what the universe was telling me,” Garza tells MBW, “and I made a conscious decision to pursue management.”
That decision led to an entry-level role at the management company representing The Black Eyed Peas and Will.i.am (Grassroots Music).
Those experiences helped shape his perspective and ultimately inspired the launch of artist, producer, and songwriter management company The Dream Adopters, which he describes as “more than just a management firm”.
Today, The Dream Adopters operates as what Garza calls a “creative-first, globally-minded boutique company” that focuses on artist development, publishing, and music for visual media.
The company has been particularly successful in the K-pop space, with over 120 placements and releases in the genre across the company’s roster.
Recent highlights include The Dream Adopters’ management clients Melanie Fontana and Lindgren writing and producing Takedown for the hit Netflix animated feature K-pop Demon Hunters.
The soundtrack launched at No.1 on the Billboard Soundtrack chart and is currently sitting at No.2 on the Billboard 200.
Looking ahead, Garza has ambitious plans for The Dream Adopters’ global expansion, including building a team of “like-minded managers” in key music markets like Korea, Japan, the United Kingdom, and Germany.
“Long-term, I want The Dream Adopters to be synonymous with innovation and creative integrity,” he tells MBW. “I want us to be a home for forward-thinking creators who want global reach without sacrificing artistic vision.”
Here, Justin Garza discusses The Dream Adopters’ positioning in the global music business, his company’s success in K-pop, and his predictions for the industry’s future.
How is The Dream Adopters positioned in the music business today?
We’re positioned as a creative-first, globally-minded boutique company. Whether it’s artist development, publishing, or music for visual media, we focus on nurturing talent and creating sustainable careers.
We’re not trying to be everything to everyone — we’re selective, we go deep, and we build real value. Our edge lies in our ability to move fast, stay authentic, and tap into multiple revenue streams across different music markets, especially international ones like K-pop.
What are your long-term ambitions for your company’s positioning in the global music business?
Long-term, I want The Dream Adopters to be synonymous with innovation and creative integrity. I want us to be a home for forward-thinking creators who want global reach without sacrificing artistic vision.
“I want us to be a home for forward-thinking creators who want global reach without sacrificing artistic vision.”
That means continuing to scale in strategic ways — expanding into publishing, tech collaborations, sync licensing, and supporting our roster with the tools they need to reach fans across cultures.
A big part of that vision also includes building a global team of like-minded managers in key music markets like Korea, Japan, the United Kingdom, and Germany. I believe having trusted partners on the ground in those regions will be essential for navigating local nuances and truly supporting artists on an international scale.
How do you identify talent you want to work with and sign?
For me, it’s a mix of instinct, work ethic, and uniqueness. The talent I’m drawn to has a clear creative identity, is relentless in their pursuit, and is open to collaboration. We look for people who aren’t chasing trends, but instead, setting them — or even ignoring them altogether because they’re so focused on their own lane.
“I’m looking for incredible human beings at their core — people who operate with the highest level of integrity, not just in the art they create, but in how they handle their business.”
I’m especially drawn to self-starters who are hungry and willing to pour daily effort into being proactive and forward-thinking. Most of all, I’m looking for incredible human beings at their core — people who operate with the highest level of integrity, not just in the art they create, but in how they handle their business. That kind of character is what builds lasting careers and strong creative partnerships.
Your website notes that you are leveraging your talent pool to create original music for film soundtracks, television, commercials, and video games. How big a part of your business is this currently?
It’s a growing part of our business and one we’re genuinely excited about. Right now, sync represents around 25–30% of our activity, and it’s expanding steadily — not just in volume, but in the depth of creative opportunity we’re seeing.
Most recently, our management clients Melanie Fontana and Lindgren wrote and produced the end title song Takedown for the Netflix animated feature K-pop Demon Hunters. Another one of our clients, Curtis Douglas, served as the theatrical and soundtrack mixing engineer and vocal editor for the film.
The project debuted at No.1 globally on Netflix, the soundtrack launched at No.1 on the Billboard Soundtrack chart, and it’s currently sitting at No.2 on the Billboard 200. It’s a great example of how our team can deliver music that resonates both commercially and culturally.
Photo Credit: Joon ParkLindgren, Justin Garza and Melanie Fontana at the ‘Singing In My Sleep’ premiere
We also recently contributed to Singing in My Sleep, a feature film written and directed by one of my closest friends, Nick Wilson, which hit select theaters and on-demand on July 11.
Melanie and Lindgren wrote and produced five original songs for the film, Curtis engineered several of the soundtrack tracks, and I had the privilege of serving as the sole music supervisor and sharing executive music production credit alongside Melanie and Lindgren — who also happen to be my best friends and longtime creative partners.
Beyond film, we’re also active in television, gaming, and commercial work — including sonic identity creation for brands. Our team’s versatility allows us to deliver everything from cinematic orchestral cues to immersive gaming soundscapes to branded theme music that truly connects with audiences. Sync and custom music work aren’t just side projects for us — they’re core to our mission of helping talent build sustainable, multi-dimensional careers.
You launched Dream Room Publishing alongside Melanie and Lindgren. Tell us about how this venture came to be launched, and what your ambitions are for the publishing side of the business?
I’ve been representing the songwriting and production careers of Melanie and Lindgren for almost eight years now. Over that time, we’ve developed not just an incredibly close creative bond, but a deep friendship built on trust, loyalty, and shared vision. Launching Dream Room Publishing together felt like the natural next step — a way to take everything we were already doing and formalize it under a banner that truly reflects who we are and what we stand for.
“Dream Room Publishing was born out of a desire to redefine the creative experience for songwriters and producers.”
Dream Room Publishing was born out of a desire to redefine the creative experience for songwriters and producers. It blends the best qualities of a powerhouse major publisher with the personalized, hands-on approach of a boutique company. We built it to be the kind of place we always wished existed — where writers are never just “one of many,” but true partners in a shared journey toward artistic and commercial success.
The heartbeat of the company is our relationship — three best friends who genuinely care about the people we work with and the music we help bring into the world. Our services range from song placement and writer development to catalog management and sync licensing, but at the core, Dream Room is about elevating creative voices and creating a space where people feel seen, supported, and celebrated.
Could you tell us about your success in the K-pop space, what that success has stemmed from, and, additionally, share your insight on the broader opportunities you’re seeing in K-pop globally?
Our success in K-pop comes down to three things: consistency, cultural respect, and collaboration. K-pop is one of the most competitive and fast-moving music ecosystems in the world, and it requires a unique understanding of storytelling, melody, structure, and the ability to work seamlessly across cultures and time zones.
“K-pop is one of the most competitive and fast-moving music ecosystems in the world, and it requires a unique understanding of storytelling, melody, structure, and the ability to work seamlessly across cultures and time zones.”
Across our roster, we’ve had over 120 placements and releases in the K-pop genre — a number we’re incredibly proud of. That includes songs for top-tier acts, deep album cuts, and everything in between. We’ve built strong, long-standing relationships with Korean labels, A&Rs, and creative teams, and we’ve taken the time to truly understand the nuances of the market — both creatively and culturally.
On a global level, K-pop is no longer niche. It’s a dominant force in international pop culture and continues to open doors for Western songwriters and producers in new and exciting ways. The fan engagement is unmatched, and the creative bar is incredibly high — which makes it a rewarding space to be in. As the genre evolves, so do the opportunities: from sync and brand collaborations to catalog value and international touring, K-pop continues to be a global growth engine for the entire music business.
What trends are you seeing in the market that we should know about?
I’m seeing a strong shift toward music being part of broader content ecosystems. Artists aren’t just releasing songs — they’re building worlds. Music now intersects with gaming, fashion, storytelling, social media, and even film and TV in ways that are more integrated than ever. As a result, creators who can think multidimensionally are thriving.
There’s also a major push toward authenticity. Fans want to feel like they’re part of an artist’s real journey — not just responding to a polished marketing rollout. That’s influencing everything from how songs are released to how artists show up online.
“I’m seeing a strong shift toward music being part of broader content ecosystems. Artists aren’t just releasing songs — they’re building worlds. “
AI is obviously top of mind in every corner of the industry. From songwriting tools to vocal cloning and personalized listening, it’s moving fast. But the most impactful uses I’m seeing right now are the ones that support human creativity — not replace it. It’s going to be crucial for creators and companies to find ways to embrace the tech without losing the heart.
On the business side, short-form syncs like TikTok sound design and micro-placements are booming. Fan-driven platforms — from Patreon to Discord — are giving artists new ways to monetize and build community on their own terms. And catalog acquisitions are evolving too, with more focus on younger catalogs and hybrid-rights models that combine publishing, master rights, and sync potential.
The biggest through-line across all of this? The artists and companies who are winning are the ones who can be agile, collaborative, and deeply connected to their audience.
What are the biggest challenges facing artist managers today?
The sheer volume of noise. It’s harder than ever to cut through and keep artists focused when everything is happening all at once, all the time. Managers today have to wear multiple hats — strategist, therapist, creative director, and often, firefighter.
One of the biggest challenges is helping artists navigate the pressure to be “on” constantly — to always be posting, promoting, producing, performing. That kind of pace can take a serious toll on mental health and self-worth, especially when social media metrics start to feel like the only measure of success.
“As a manager, you’re not just building careers — you’re helping people manage expectations, stay grounded, and find purpose beyond the algorithm.”
There are also real financial pressures. Even artists who look successful from the outside may be facing inconsistent income, mounting costs, and uncertainty about how to sustain momentum. As a manager, you’re not just building careers — you’re helping people manage expectations, stay grounded, and find purpose beyond the algorithm.
Balancing short-term visibility with long-term career building is key. Viral moments are great, but they can’t be your only plan. The goal is to help artists build something sustainable — creatively, emotionally, and financially.
What advice would you give entrepreneurs starting out in the music business today?
Be relentless and be curious. Don’t chase trends — build relationships, build skills, and build value. Know your numbers, but also know your worth. And remember, this is a long game. The most valuable thing you can do is show up consistently with something real to offer.
Also, operate with integrity. Your reputation will outlive your current title, job, or project — so the way you treat people matters. This business is built on trust and relationships, and those can take years to develop but only moments to lose.
“Team-building isn’t just about delegation — it’s about aligning with people who share your vision and values.”
Surround yourself with people who inspire you, challenge you, and hold you accountable. No one succeeds in this industry alone. Team-building isn’t just about delegation — it’s about aligning with people who share your vision and values.
And finally, stay grounded in why you’re doing this. The music industry can be chaotic and unpredictable, but if your mindset is anchored in purpose and service — to the artist, to the song, to the vision — you’ll find your way through the noise.
What does success look like to you?
Success, to me, is building something that outlasts hype. It’s helping artists and writers create work they’re proud of and sustain careers they control. It’s also about creative freedom — the ability to choose who I work with, what I work on, and how we bring that work into the world.
It’s deeply personal, too. I get to build alongside people I love and trust — and that’s not something I take for granted. Being able to create a business that reflects my values while still showing up for my family, my wife, and my closest friends — that’s a version of success I hold close.
Ultimately, I think about legacy. Not in terms of accolades, but in terms of impact. Did I help people feel seen? Did I create space for others to thrive? Did I use whatever platform I’ve built to open doors for others? If the answer to those questions is yes, then I’m on the right path.
If there was one thing you could change about the music business, what would it be and why?
Transparency. There are still too many layers of confusion and opacity around rights, royalties, and deal structures. Artists and writers deserve to understand exactly what they’re signing and what they’re earning — in plain language, without needing a legal degree or insider access.
“A more transparent and equitable industry isn’t just ethically right — it’s creatively better.”
But it’s not just about visibility — it’s also about fairness. There’s still a major gap in access to information, resources, and opportunities, especially for emerging creatives and underrepresented communities. Too often, the people doing the most vital creative work are the least protected or empowered.
The solution starts with education — making sure creators have the knowledge and tools to advocate for themselves. But it also includes reimagining the models: more equitable contracts, better use of technology to track rights and royalties, and a shift in mindset toward true partnership, not just ownership.
A more transparent and equitable industry isn’t just ethically right — it’s creatively better. When artists feel empowered and informed, they create their best work. And that lifts the entire ecosystem.
Trailblazers is supported by TuneCore. TuneCore provides self-releasing artists with technology and services across distribution, publishing administration, and a range of promotional services. TuneCore is part of Believe.Music Business Worldwide
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