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Artefact: On board Nobiskrug's striking 80m hybrid superyacht

Cutting-edge research and huge imagination have made Artefact the smartest superyacht afloat. BOAT International gets a lesson in the art of seaborne science on board the 2021 Motor Yacht of the Year ...

Against the green, hilly coast of St Lucia, birds swoop in daring arcs while flashes of silver leap over deep turquoise water. Occasional outboard-powered launches hug the coast, leaving freshly stirred foam behind them. Artefact , by contrast, is moving silently and slowly, allowing the splendid spectacle of nature to take centre stage through walls of near-invisible glass. The warm light of the subtropics bathes the quiet and high-tech bridge.

Captain Aaron Clark switches power from two small generators to batteries, and we keep moving silently at just six knots for several minutes, listening to the birds. Artefact is equipped with an ABB diesel-electric system with a DC bus (a direct-current-based diesel-electric system, also known as a DC Grid) that integrates lithium batteries, Azipods and a full dynamic positioning system. The captain loves the flexibility this provides. “You’re limited only by your imagination,” he says.

By the time you're reading this piece, it will have been five years since the contract was signed for the construction of an 80-metre yacht that will no doubt become a benchmark. Artefact , which has been cruising nonstop since leaving chilly Germany in early 2020, is like haute couture: one of a kind and perfectly fitted to its owners, but some of its features will inspire others. They already have.

The frameless glass that serves as the outer wall in the VIP cabins, for instance, motivated a client to ask for more glass in his own project, says Fadi Pataq, sales and marketing director for builder Nobiskrug. And diesel-electric pod systems, which were but a trickle over the years in the superyacht market, are more in demand than ever. “In a way, it started a trend,” he says.

It could also be that we have come to a tipping point motivated by better stewardship of the planet and regulations that restrict emissions. What is certain is that behind Artefact are change-makers, whose knowledge and imagination have produced a thoroughly enjoyable home on the water.

Building the yacht has been a family affair, but while every family member contributed to the creation of the boat that would become Artefact , the impetus and driving force was an engineer whose company supports breakthrough technologies in quantum information sciences, Mike Lazaridis. His family had great memories of holidays on yachts they had chartered, and by 2013 he began to think about building a home able to travel the world. Inspiration also came from glossy publications casually placed by a friend on a coffee table. “It’s your magazines that did it,” says Lazaridis with a laugh, of his decision to build Artefact . But it took some time to bring everyone on board, especially as a couple of family members suffer from motion sickness.

Along the way he met Captain Clark, a New Zealander who got into yachting in his early twenties and built a successful career as a charter yacht captain. Complementing Lazaridis's big-picture ideas and deep engineering knowledge were Clark’s understanding of the sea, yacht operations, project management and his undeniably impressive people skills.

Before even knocking on the door of a yacht designer or a shipyard, they started researching the latest technology and solutions available to address the issues of efficiency and motion sickness. They looked into multihulls and SWATHs before embracing the practicality of a monohull. They saw numerous yachts with a keen eye on what worked and what didn’t. They also went to trade and equipment shows to investigate the latest forward-looking technologies.

Very early on, it became clear that they would go to diesel-electric propulsion and embraced the idea of ABB’s DC Grid, which thus far had only been done on a few commercial vessels. One of the major wishes for the design was that it should feature abundant glass, not only because it is visually pleasing but because seeing the horizon helps mitigate motion sickness. Lazaridis also had a lot of experience with the material. The home he built on the shores of Lake Huron in Ontario is a marvel of engineering, with major sections of laminated glass – at the time among the largest ever made – cantilevered over open space. To realise this amazing structure, designed by architect Siamak Hariri, they had to do extensive work in acoustics to minimise the transfer of noise and vibrations that can occur with glass.

“I really enjoy the house we built. I love the views and the feeling that you are floating. I kept thinking it would be great if I could change the view, so when I had a chance to design Artefact , I wanted to bring that experience as much as I could,” says Lazaridis.

One day, Clark saw a rendering of a 50-metre yacht concept from Gregory C Marshall Naval Architect (GCMNA). It had unusual lines and lots of glass. He forwarded the concept to Lazaridis and it struck a chord with him too. “We knew we were building an electric boat, so we wanted to make sure it had a bit more of a futuristic look and I thought it looked like an electric boat,” he says of the original concept by Geoff Harrington, a senior designer in the innovative GCMNA studio.

“ Artefact has evolved quite a bit from that original concept. The pieces were there: the narrow waist of the superstructure, the full-length glass, the way the overhangs were split, but Artefac t is fundamentally bigger and more elegant,” Harrington says. “The intent of the design was to create multiple private spaces and points of view forward, aft and on the sides.”

While finessing the exterior, GCMNA also worked with the owners and captain on defining all interior spaces. They built a full-size mock-up inside a vacant warehouse, using wood and Tyvek construction wrap for key spaces from the bridge, to the galley, the owner’s deck and an extraordinary  Tai Chi room. An adult holding a Tai Chi sword overhead defined the height of this particular space.

Artefact ’s layout bucks the current trends. It’s a very different approach from that of many yachts afloat today. The forward area of the yacht,  except for the owner’s panoramic office on the owner’s deck, is dedicated to operations.

“Everyone says they want the minimum of crew, but they don’t design the boat for it,” Captain Clark says. “The key is to minimise footsteps,” he adds. He concentrated the very well-designed and appointed crew area on the forward end of the main deck (spacious pantry, galley, stores and a light-filled and spacious crew mess) with a lounge and cabins in the same position one deck below. The guest spaces are primarily in the aft to centre section, identified as the least subject to pitch and roll. The owner’s deck includes a panoramic office and a fully equipped crafts room, just like they have at home.

The primary guest circulation throughout the yacht is via a central staircase and a lift. The only exterior stairs connecting decks are between the beach club and the main deck. It has the advantages of providing privacy and allowing the yacht to be secured easily.

One major decision was to go with ABB’s diesel-electric system and the first ever DC bus installed on a superyacht. Efficiency was a big driver in the selection of this system, which builder ABB says optimally saves 30 per cent of energy over a conventional system, as well as emissions, but so was comfort. The Azipods and DP system allow a great deal of fine tuning in positioning the yacht to minimise the impact of waves and wind on the hull. The DC bus permits more efficient use of power, drawing from any available source on the grid, such as redundant variable-speed DC generators, and the ability to store surplus energy in banks of batteries. “This eliminates the need for energy-wasting load banks, which are needed to dissipate the excess power produced by a traditional yacht’s fixed-frequency AC generators,” Lazaridis explains. The modular design also allows future upgrades to new power sources, such as fuel cells. One challenge is that, combined with Tier III-compliant engines and the Selective Catalytic Reduction system that accompany them, the whole set-up is space intensive.

Another important piece of the puzzle was the toy garage. The largest of Artefact ’s three tenders, a custom tender built by Lloyd Stevenson Boatbuilders is 11.7 metres in length. It had to be both easily loadable onto the yacht and stored out of sight. By the time they had finalised the spaces, Artefact had grown to 75 metres in length and the brief they had prepared was 85 pages long. They had already chosen key suppliers, including ABB, Caterpillar, Hug Engineering, Quantum and GLY for the glass.

“The owner and Aaron were very determined that this was the boat they wanted to build. This is a truly custom boat,” Harrington says.

This appealed to Nobiskrug, builder of Sailing Yacht A , which Lazaridis calls one of his favourite yachts. “After Sailing Yacht A , we noticed there is a gap in the market for people who do purely custom and since then we have been really focused on that. When Artefact came around, we realised it was one of these projects again,” Pataq says.

During the engineering phase, requirements of technical spaces primarily determined the final length of 80 metres. The hull was tank tested and refined to achieve better efficiency and Nobiskrug identified the best method to build Artefact , which involved combining a steel hull with a superstructure built in composite with a steel core. “As we went deeper and deeper into the technical specifications, and due to the curvy shape of the superstructure, it was evident we needed to do that in composite. Today a lot of airliners are made of composite, so why not superyachts?” Pataq says.

Right around the time that the Artefact team was speaking with shipyards, they also interviewed interior designers, among them Reymond Langton Design (RLD). “Reymond Langton really understood the interior design challenge that Artefact presented because they realised how difficult it is to compete with the outside views in a house that is made out of glass,” says Lazaridis who accurately describes the design as “radical yet minimalist”.

The designers freely admit that working with so much glass changed their approach because acoustics were such a leading consideration. To avoid the effect of an echo-filled glass box, everything had to be shaped in such a way that it would not reverberate noise. “The glass is not straight, there is always a tilt on it, every surface has unusual finishes and a dual direction,” Pascale Reymond says.

Lazaridis demonstrates what they achieved with a noise metre he keeps in his office, which is fronted by a stunning curved floor-to-ceiling window. With Artefact docked in the shadow of Gros Piton and waves crashing on the shore, the noise level is 28dB, “quieter than a library”, he says.

Of course, not all of it is attributable to the interior materials. Soundproofing the yacht went from the bottom up. However, what is easily visible are ubiquitous wave patterns in walls and ceilings, which are interesting and soothing. The main saloon’s ceiling, made of carved oak over acoustic panels wrapped in Majilite, looks like it is finished with meticulously matched driftwood, a finish inspired by Lazaridis's house.

“You can affect the acoustic of a room massively by the finishes that you choose and the angles that you’ve used,” says RLD’s Jason Macaree, who worked closely with sound consultants on testing various materials, down to the type of perforations to use.

“We did not just put in an interior, we really [strived] for the interior to work with the outside, the acoustic and the volume. It is one of the cleverest designs we’ve done. It is a smart boat,” Reymond says.

It is also very personal. An armillary sphere in the saloon represents the Lazaridis's love for science. Before Galileo, he explains, “armillary spheres were super complicated and not that accurate, but once humans realised the earth was not at the centre, the armillary became very simple. This one helps you navigate the earth and figure out where all the constellations are.”

Reymond Langton worked with DKT Artworks and a Swiss horologist on this marvellous object that catches the light as the sun sets behind the horizon, casting a golden glow throughout the saloon. The colour gold is a bit of a theme in the art glass that lines lower portions of the walls, and in a stunning reproduction of Gustav Klimt’s The Kiss , handmade in an ancient silk embroidery technique perfected in China. A companion piece on the opposite wall is based on a famous Chinese painting.

Just like every element of Artefact , from her imaginative form to her cutting-edge function, the artwork is a perfect marriage of art and science.

Dine with the stars

The formal dining space is a world of its own. In the daytime, the eye wanders to the panorama behind invisible walls of glass on both sides. For the centrepiece, Reymond Langton Design commissioned Silverlining to make a stunning dining room table inspired by the owner’s love of astronomy. The “Cosmic Table” seats 14 guests. On the tabletop, cantilevered over a sculptural base made of steel-clad in composite, is an artistic representation of the cosmos. The planets are finished in a textured bronze, metallised resin while smaller satellites, made in black mother of pearl, orbit a planetary compass. Laser-cut metallised inlays chart their movements around the sky. Continuing the theme is the dining room chandelier, made by interior outfitter List. The light-up domes represent the planets on their path around the solar system.

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Blackberry founder Mike Lazaridis’ $150 million superyacht has a dedicated Tai Chi room with a ceiling tall enough to wield a sword above the head. The billionaire clad his 262 feet vessel in 70 tons of glass. It boasts a movie theater and an artistic 14-seater cosmic dining table.

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Boat of the Week: Meet ‘Artefact,’ a Whimsical 262-Foot Superyacht With the Most Spacious Interior in Its Class

The owner plans to make this highly engineered yacht his first and last boat, with a design that can be modified as future technologies come online., julia zaltzman, julia zaltzman's most recent stories.

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Meet Artefact , a yacht ahead of its time. The exterior’s whimsical curves made this superyacht the toast of last week’s Monaco Yacht Show, but its universal appeal didn’t happen by coincidence.

The world’s largest 262-foot boat (by volume) was meticulously planned for years by her owner, an engineer, and build captain to be a cutting-edge, diesel-electric wunderkind. The futuristic façade and eco credentials have grabbed the headlines, but Artefact ’s interior is what may eventually reset the course for future yacht design.

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“We didn’t rush into Artefact ,” Captain Aaron Clark told Robb Report, during an in-depth tour of the yacht last week in Monaco. “It’s the owner’s first boat, and will be his last boat. He didn’t want a yacht that looked the same as everybody else’s. And he didn’t want a yacht that performs the same. He wanted a boat that was future-proofed.”

The exterior glass, weighing more than 70 tons, and whimsical patterns make Artefact instantly recognizable.  Courtesy Nobiskrug

By future-proofing, the owner reflected on the smallest details that would still be relevant two decades from now. No door thresholds and minimal steps for wheelchair access are just a few of the practical design features. Then there’s the Tai Chi room, with added ceiling height to be able to wield a sword above the head. Next came placing the owner’s cabin at the lowest acceleration point on the boat, so the ride would be comfortable. Finally, the owner decided to centralize all service operations to reduce the number of crew.

Clark and the owner spent 18 months developing Artefact before signing a contract together, and another year tank testing and investigating stabilization systems before looking for a shipyard.

“We spent eight months and $110,000 building the family deck level to scale, out of wood and Tyvek construction wrap,” said Clark. “It helped us to figure out how much room the owners need to comfortably live aboard and how big the boat needed to be.”

A minimalist design with a premium on space and natural light.  Courtesy Francisco Martinez/Nobiskrug

The answer was bigger, a lot bigger. The original 500-gross ton volume increased to a seismic 2,990 gross tons. “I went to seven shipyards with the plans,” says Clark, “But we ended up with Nobiskrug because they were the only yard who kept the pedigree and design that we wanted from the beginning.”

All the detailed planning paid off. During the build process, the change order was a paltry 1.1 percent—owner-mandated changes during most builds are typically 30 percent. Artefact was delivered in March 2020 to her owner, who plans to live aboard for up to three months at a time. During the pandemic, that increased to eight months, and the boat was not sitting idle in some marina. Artefact went on a mammoth 13,000-nautical mile, nine-month shakedown voyage.

“My favorite piece of technology is the boat’s dynamic positioning system,” says Clark, noting it keeps the boat in place without anchoring. “We used it for 650 hours in the first year, including two weeks non-stop. If the owner is sitting in direct sunshine, I turn the boat a bit. Other times, I change the view. In rough seas, we defuse the waves. It really enhances the guests’ overall experience.”

The Tai-Chi room was one of many detailed features, with enough ceiling height to let a practitioner wield a sword overhead.  Courtesy Francisco Martinez/Nobiskrug

From the dock, Artefact stands out for her radical geometric shapes and massive windows. The exterior was designed by Gregory C. Marshall, featuring 8,073-square-feet of glass weighing 70 tons. In contrast, the Reymond Langton interior is a Zen-like, clean expanse of space.

Straight-grain, dark-walnut floors are paired with Taupe ripple fiddle-back sycamore walls. There are gorgeous details everywhere: Handwoven silk artwork hangs in the main salon, and Su embroidery defines the owner’s suite. Streamlined and uncluttered, the guest areas feel spacious, yet homey.

“The interior isn’t ostentatious and that’s because you can’t compete with the exterior architecture,” says Clark. “We didn’t try to fight it.”

The interior combines an indoor-outdoor sensibility for areas like the main dining room.  Courtesy Francisco Martinez/Nobiskrug

The amount of onboard glass is a yachting first and didn’t come without challenges. The primary ones being weight, solar-heat gain, optical properties and reflections of sound.

Materials and space are used to absorb sound. In the owner’s suite, with a carpet that feels like crunchy snow underfoot, sound levels average just 36 dBA—somewhere between a whisper and hushed library—when under way. All the windows are made of two panels of bronze glass and one layer of mirror, which cuts heat without distorting views and “makes the greens pop,” according to Clark.

Much has been made of the owner’s request for Artefact to be environmentally advanced. It was the first superyacht to conform to IMO Tier-III emissions standards. It has 248 square feet of solar panels, creating enough electricity to run the lighting at night. But the advanced DC bus digital power management system—the first to be installed on a yacht—allows the vessel to fully integrate multiple sources of power from solar cells, variable-speed generators and lithium batteries.

The owner’s office has an unrivaled view.  Courtesy Francisco Martinez/Nobiskrug

That means the boat can operate for a limited time without internal combustion engines. It also has the potential to draw on future technologies, such as fuel cells.

“ Artefact is designed for the future. So, if we want to change an engine to a new technology, the system is in place with the DC bus to enable that,” says Clark.

For many superyacht owners, being identifiable on the water is something to be avoided at all costs. But not Artefact . “You can’t do something different and stay hidden,” says Clark. “If you’re going to set trends, you need to be recognizable. Not just technically, but with the owner experience as well.”

The curves continue on Artefact ‘s stern area.  Courtesy Francisco Martinez/Nobiskrug

Since Artefact ‘s eco-credentials have been widely discussed, the conversation has moved to the interior and exterior. “We felt the styling might overwhelm the true core of what the boat was,” says Clark. “Now, we’re highlighting the design. I think that was a good strategy.”

Check out Artefact ‘s many details below.

Courtesy Francisco Martinez/Nobiskrug

Courtesy Franciso Martinez/Nobiskrug

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Artefact: The Eco Superyacht that Changed the Game

Artefact is notable for a number of reasons, not the least of which is her advanced hybrid technology.

By Ellie Brade

Last year saw a dazzling array of brand-new superyachts hit the water for the first time, and one of the most head-turning was the 262-ft Artefact , built in Germany by Nobiskrug and designed by Gregory C Marshall with an interior by Reymond Langton Design. Artefact is notable for a number of reasons, not the least of which is her advanced hybrid technology, striking exterior design and the fact that she is the biggest-volume yacht of her size in the world.

The owner’s brief was to create a yacht that blended environmental responsibility, innovative features and high comfort levels, and the design team more than delivered. The Artefact build team pushed the boundaries of yacht design, and rightly describe her as a ‘game changer.’

[See also: How the Spectacular Superyacht Scout is Making Waves]

Key features include the combined use of solar panels and a battery storage system that ensure the yacht can operate with no engines for windows of time. A diesel-electric Azipod propulsion system can hold Artefact’s position without needing to drop anchor — protecting sensitive ocean floors.

The clever use of glass has helped create a truly unique profile, with radically mismatched windows. With the highest glass ratio of any yacht of her size, a floor-to-ceiling central glass section has 7,965 sq ft of curved glasswork that weighs an incredible 60 tons!

A wide variety of guest spaces span her many decks, with numerous alfresco dining areas, a Jacuzzi, impressive storage capacity for tenders and toys, and a refined interior with high ceilings. Designed to maximize the long-term on-board comfort of her guests, Artefact’s many assets include a full cinema, beauty salon and gym.

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For more information and images, visit: nobiskrug.com

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ARTEFACT Yacht – Stunning $150M Superyacht

Built-in 2020 by Nobiskrug , ARTEFACT yacht is an incredibly unique and innovative yacht that has taken over the boating industry.

The technology used in this 80-meter-long yacht has created an environmentally conscious ship, earning it multiple awards including Motor Yacht of the year 2021. 

ARTEFACT yacht background

Although ARTEFACT was the creation of a family’s dream, the driving forces behind this groundbreaking technology were Mike Lazardis and Captain Clark.

This engineer and yacht captain worked together to combine their engineering knowledge and insight of the ocean.

They knew the ARTEFACT yacht needed to be something exceptional, while maintaining that home-like feel the family was seeking.

Specifications

The ARTEFACT yacht reaches a max speed of 17.5 knots with a range of over 6,000 nautical miles and is powered by 2 Caterpillar engines.

It is quite large and can hold about 12 guests and 24 crew members. 

ARTEFACT includes solar panels and a large battery storage system to prevent the constant use of internal combustion engines.

This allows the yacht to move quietly so as to not disturb marine life.

It also does not need to drop an anchor to hold position lessening any damage to the sea floor.

Even the water used on the ship does not go to waste – any wastewater is recycled and used later as technical water.

These may seem like simple changes, but they make a significant impact on lessening the environmental effects that most yachts can have. 

Designed by Gregory C. Marshall and Siamak Hariri, this spectacular structure features a futuristic look that is both gorgeous and functional.

With all of the glass used, the glass itself had to be specifically shaped in a way to minimize the transfer of vibrations and sounds that happen with glass. 

The open-space design allows passengers to get breathtaking ocean views at any spot on the ARTEFACT.

Not only will they see beautiful sunsets, but seeing more of the horizon actually helps with motion sickness.

An issue that some of the family members who own the ARTEFACT yacht ironically struggle from.

If you thought the ARTEFACT’s exterior was magnificent, wait until you see the inside!

Beautifully designed by the famous Reymond Langton , the interior has a spacious and home-like feel that makes you forget you are in the middle of the ocean.

When the ARTEFACT yacht interior was initially designed, the team built a full-sized model in an empty warehouse to physically plan out how everything would be placed.

They used construction wrap and pieces of wood to create the models of each room including the owner’s deck, the bridge, and even the special Tai Chi room. 

The ARTEFACT yacht has been sailing the waters since early 2020 when it left its home in Germany.

Its spectacular design and innovative use of technology have brought it much attention.

Many believe that its success will start a chain reaction in the yacht-building industry, creating more of a focus on environmental impact.

It will definitely be interesting to see how yachts will evolve and change with ARTEFACT as their inspiration.

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Leopard Yachts launch motor yacht OSCAR

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If you have any questions about the OSCAR information page below please contact us .

A Summary of Motor Yacht OSCAR

The well sized luxury yacht OSCAR is a motor yacht. This 30 metre (100 ft) luxury yacht was constructed by Azzura Yachts in 2003. Superyacht OSCAR is a majestic yacht that is able to accommodate up to 8 people on board and has approximately 4 crew members.

New Build & Design for Luxury Yacht OSCAR

The yacht's wider design collaboration came from Murray & Associates. The professional naval architect plans are the work of Murray & Associates. Built by Azzura Yachts the yacht was constructed in the yacht producing country of Australia. She was officially launched in Gold Coast, Queensland in 2003 before being delivered to the owner. A moderate area is manifested with a total beam (width) of 6.7 m or 21.98 ft. With a 1.86m (6.1ft) draught (maximum depth) she is reasonably shallow. The material GRP composite was used in the building of the hull of the motor yacht. Her superstructure over the hull is built out of grp.

M/Y OSCAR Engineering & Speed:

This yacht utilises twin proven CATERPILLAR diesel engine(s) and can reach a impressive top continuous speed of approximately 19 knots. She is driven by twin screw propellers. OSCAR has a/an sufficient cruising speed is 10 knots which offers a range of 1200.

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Blog of the Textual Records Division at the National Archives

The Text Message

Captain Alfred Parker on Jaluit Atoll, March – April 1937

Today’s post is written by Dr. Greg Bradsher, Senior Archivist at the National Archives at College Park.

Jaluit Atoll in the Marshall Islands has recently been in the news regarding the possibility that Amelia Earhart and Fred Noonan were captured by the Japanese and taken to Jaluit Atoll in July 1937 . Whether that happened or not is a matter of speculation.  We do know, however, Norwegian Alfred Parker, captain of the Panamanian-registered M. S. Fijian , was there, according to his account, from March 28 to April 24, 1937.  His ship sank after an explosion on March 25, near the island Majuro.  The captain and crew, consisting of Norwegian and Chinese nationals, were rescued by the Japanese vessel, Shinko Maru . They were taken by this vessel to Arno Atoll.  After staying at Arno for 36 hours, the Shinko Maru proceeded southwest to Jaluit Atoll. At Jaluit the captain and crew of the Fijian disembarked under police supervision. [1]

According to Parker he was questioned by the police on 21 different occasions during his stay at Jaluit. He believed that the police regarded him as a spy of some foreign nation and for that reason greatly restricted his freedom of action on Jaluit.  While on Jaluit, Parker became acquainted with missionary Rev. Carl Russell Heine [2] , who has been on the islands for 48 years. Heine traveled throughout the Mandated Islands in his work and was acquainted with a number of Japanese naval officers. Heine told Parker that these officers had told him that their naval plans provided for the immediate capture of Guam in case of war between Japan and the United States. Parker later stated that Heine told him that he did not believe that the Japanese would allow him to leave the islands. [3]

Parker and his crew remained on Jaluit from March 28 to April 24, on which date they sailed on the Kasagi Maru for Yokohama. En route to Yokohama, the vessel made brief stops at the islands of Kusaie, Ponape (now known as Pohnpei), Truk, and Saipan.  The Japanese refused to allow Parker or the members of his crew to land at any of the islands visited en route to Yokohama.  At Yokohama. Parker spoke several times with an officer of the American Consulate.  He told him of his experiences and observations while stranded in Japanese Mandated Islands.  Parker stated that Jaluit had an excellent harbor which could only be entered by vessels under the guidance of pilots familiar with the reef formations in the channel. He said there were three Japanese Navy destroyers and one aircraft carrier stationed in Jaluit harbor. He reported that he saw no indications of fortifications on Jaluit.  Parker observed from the vessel on the voyage to Yokohama that a large airport was being constructed on the island of Kusaie, and that of the islands visited, radio stations were located on Jaluit, Truk and Saipan. [4]

Now contrast Parker’s time on Jaluit with that of William K. Vanderbilt II in 1928.  Vanderbilt, an heir of the Vanderbilt fortune and lieutenant commander in the United States Naval Reserve undertook a voyage around the world from October 25, 1928 to May 16, 1929, aboard his 213-foot, 867 ton, motor yacht Ara .  The Ara reached Jaluit on December 27, 1928.  Awaiting them there were 60 tons of oil that had been shipped from Yokohama in advance for the next leg of their cruise. Before leaving, Vanderbilt, according to missionary Carl Heine, gave two missionaries, George Lockwood and Jessie Hoppin, each $100 to carry on their work.  Heine missed seeing Vanderbilt as he was teaching at a school on an islet a short distance from Jaluit. The Vanderbilt spent several uneventful days at Jaluit before heading for the Caroline Islands. [5]

So what explains the different treatment received by Parker and Vanderbilt?  The answer lies in the change of status of Jaluit and the Marshall Islands between 1928 and 1937.  In 1899, Spain had sold the Carolines, Marianas (less Guam), and Marshalls to Germany for $4 million dollars and Germany took formal possession.  Japan in 1914, ostensibly acting as an ally of Great Britain, moved in occupation forces. The League of Nations in 1920 recognized Japan’s de facto sovereignty by giving that nation a mandate over the Marshalls, a mandate (under the terms of Article 22 of the Covenant of the League of Nations) which specifically prohibited military and naval installations.  The neutralization of other Japanese-held islands was guaranteed by the Washington Naval Limitations Treaty of 1922, signed by the United States and Japan, as well as by the British Empire, France, and Italy.  The Japanese administered the Marshall Islands (except for Eniwetok and Ujelang) by the Jaluit Branch Bureau of the South Seas Administration (Nanyo-Cho). [6]

On March 27, 1933, Japan gave the required two years’ notice of her intention to withdraw from the League of Nations, and officially withdrew on March 27, 1935.  The Japanese did not return the Marshalls to the League of Nations, but instead proclaimed absolute sovereignty over them. This action, however, did not relieve Japan of her obligation not to fortify the mandated islands under the terms of the Covenant. But the League of Nations was powerless to enforce the Covenant.  In Tokyo, on November 6, 1934, a spokesman of the Japanese Foreign Office, commenting on “suspicions” expressed at Geneva that islands administered under a mandate were being fortified, denied the accusations as groundless.  He added that Japan was observing faithfully the terms of the mandate and that “all suspicions and accusations are without foundation.” [7]   Then, on December 29, 1934, the Japanese government gave formal notice that it intended to terminate the Washington Naval Limitations Treaty of 1922, effective December 31, 1936. [8]   A New York Times correspondent, Hugh Byas, in March 1935, a few days after Japan left the League of Nations, wrote “The mandated islands give Japan a long salient into the central Pacific. They form a screen between the United States and the Philippines. Their innumerable islets and protected waterways make ideal hiding places for submarines which could cut America’s communications with the Philippines in case of war.” He added that the possession of the Marshall Islands brought Japan 2,000 miles nearer to Pearl Harbor.  Byas quoted Japanese Admiral Nobumasa Suyetsugu’s recently published article in the Tokyo Nichi Nichi Shimbun , in which he observed “The mandated islands are Japanese’s first line of marine defense…As long as Japan is able to hold these isles her national safety is secured….Japan’s possession of the isles does not menace any power, the isles being too far away from other countries.”  Suyetsugu also had written that the islands were “naturally built aircraft carriers” and were “apparently made to order for Japan,” and that “Pacific equilibrium can be maintained only when Japan holds them.” [9]

From 1935 onwards the nature and extent of Japanese activities in the mandated islands remained cloaked in secrecy and mystery. Foreigners had never been encouraged to travel within the mandated islands, and with formal annexation, the Japanese, for the most part, excluded them. In the latter half of 1936 and early 1937, when the United States Government requested permission for the United States Navy auxiliary ship USS Gold Star (AG-12) to visit Truk, Palau and Saipan, the Japanese refused.  This, and other actions the Japanese took with regard to the mandated islands, gave rise to suspicions among the Western powers that Japan was fortifying the islands contrary to her commitments stipulated under the terms of the League Covenant. [10]

What became of Alfred Parker is unknown to me. William K. Vanderbilt continued his sailing adventures and remained in the Naval Reserve until he was transferred to the Honorary Retired List on January 1, 1941 for physical disability. United States liberty ship SS William K. Vanderbilt , named in his honor in 1942, was, on May 16, 1943, torpedoed and sunk by a Japanese submarine southwest of Suva, Fiji Islands. As for Carl Heine, a granddaughter recalled that after 1940, the Japanese removed him from Jaluit to the islet of Imiej (part of the Jaluit Atoll), the headquarters for the Japanese Navy garrison and major seaplane base. [11] This observation seems consistent with the United States Navy report of January 1944, that it had been reported in February 1941, the Japanese removed the natives and 17 foreigners from Jaluit. [12] One author maintains that the Japanese beheaded Heine in April 1944. [13]  

This post has been updated to include photographs from Record Group 38.

n.b. The three photographs used with this blog are from File 601-400 Area M Marshalls, the POA Monograph Files, Office of Naval Intelligence (Entry UD-74, NAID 6850877 , declassification authority NND 907002), Records of the Chief of Naval Operations, Record Group 38. The Jaluit Atoll photographs in the file date from 1900 to at least December 1928, and perhaps later. Many are undated. Some of the prints were included in a United States Navy Bureau of Yards and Docks study entitled “Geographical Data for the Guidance of Seabee Units in the Event of Assignment to Certain Areas Part II-Marshall Islands,” printed on January 4, 1944. A copy of this study is included in the above mentioned file. It is interesting to note the photograph of the ship (not Vanderbilt’s) in late December 1928 Vanderbilt was about a mile away at the pier at Jaluit harbor.  He did have photographers with him and it is quite possible this photograph (as well as another one in the file dated late December 1928) were furnished by him to the United States Navy. [14]

[1] Despatch, No. 315, Richard F. Boyce, The Consul at Yokohama  to the Secretary of State, June 25, 1937, File: 862i.01/329, Central Decimal File, 1930-1939, General Records of the Department of State, Record Group 59; “The loss of the Fijian ,” The Times (47646), London. March 31, 1937.p. 20.

[2] Heine, born in Singleton, New South Wales, came to the Marshall Islands in 1890.  He was ordained as a minister in 1906, and became an associate missionary of the American Board of Commissioners for Foreign Missions. John Garrett, Where Nets Were Cast: Christianity in Oceania Since World War II (Suva and Geneva: Institute of Pacific Studies, University of the South Pacific in association with World Council of Churches, 1997), p. 127, John Garrett, Footsteps in the Sea: Christianity in Oceania to World War II (Suva and Geneva: Institute of Pacific Studies, University of the South Pacific in association with World Council of Churches, 1992), pp. 281, 441.

[3] Despatch, No. 315, Richard F. Boyce, The Consul at Yokohama  to the Secretary of State, June 25, 1937, File: 862i.01/329, Central Decimal File, 1930-1939, General Records of the Department of State, Record Group 59.

[4] Despatch, No. 315, Richard F. Boyce, The Consul at Yokohama  to the Secretary of State, June 25, 1937, File: 862i.01/329, Central Decimal File, 1930-1939, General Records of the Department of State, Record Group 59.

[5] Steven H. Gittelman, Willie K. Vanderbilt II: A Biography (Jefferson, North Carolina and London: McFarland & Company, Inc., Publishers, 2010), p. 175; “Book by Vanderbilt Depicts World Trip,” The New York Times , December 20, 1930, p. 37;  John Garrett, Footsteps in the Sea: Christianity in Oceania to World War II (Suva and Geneva: Institute of Pacific Studies, University of the South Pacific in association with World Council of Churches, 1992), pp. 441-442.

[6] Philip A. Crowl and Edmund G. Love, Seizure of the Gilberts and Marshalls,   The War in the Pacific, United States Army in World War II (Washington, D.C.: Office of the Chief of Military History, Department of the Army, 1955), p. 206; Lt. Col. Robert D. Heinl, Jr., USMC and Lt. Col. John A. Crown, USMC, The Marshalls: Increasing the Tempo (Washington, D.C.: Historical Branch, G-3 Division, Headquarters, U.S. Marine Corps, 1954), pp. 1, 2.

[7] Associated Press, “Tokyo Terms Fears Groundless,” The New York Times , November 6, 1934, p. 4.

[8] “Texts of the Statements on End of the Naval Treaty,” The New York Times , December 30, 1934, p. 14.

[9] Hugh Byas, “Japan’s Mandate a Naval Asset,” The New York Times , March 31, 1935, p. E5.

[10] Telegram, No. 177, The Chargé in Japan (Neville) to the Secretary of State, September 4, 1936, File: 811.3394/239: Telegram, Central Decimal File, 1930-1939, General Records of the Department of State, Record Group 59; Telegram, No. 210, The Chargé in Japan (Dickover) to the Secretary of State, October 13, 1936, File: 811.3394/243: Telegram, ibid.; Telegram, No. 54, The Ambassador in Japan (Grew) to the Secretary of State, February 12, 1937, File: 811.3394/251: Telegram, ibid.; Philip A. Crowl and Edmund G. Love, Seizure of the Gilberts and Marshalls,   The War in the Pacific, United States Army in World War II (Washington, D.C.: Office of the Chief of Military History, Department of the Army, 1955), p. 206; Lt. Col. Robert D. Heinl, Jr., USMC and Lt. Col. John A. Crown, USMC, The Marshalls: Increasing the Tempo (Washington, D.C.: Historical Branch, G-3 Division, Headquarters, U.S. Marine Corps, 1954), p. 2.

[11] Anono Lieom Loeak, Veronica C. Kiluwe, Linda Crowl, eds., Life in the Republic of the Marshall Islands (University of the South Pacific Centre, Majuro and Institute of Pacific Studies, University of the South Pacific, 2004), p. 107..

[12] Geographical Data for the Guidance of Seabee Units in the Event of Assignment to Certain Areas Part II-Marshall Islands,” January 4, 1944, p. J-1, File 601-400 Area M Marshalls, the POA Monograph Files, Office of Naval Intelligence (Entry UD-74, NAID  6850877), Records of the Chief of Naval Operations, Record Group 38.

[13] John Garrett, Where Nets Were Cast: Christianity in Oceania Since World War II (Suva and Geneva: Institute of Pacific Studies, University of the South Pacific in association with World Council of Churches, 1997), p. 128; John Garrett, Footsteps in the Sea: Christianity in Oceania to World War II (Suva and Geneva: Institute of Pacific Studies, University of the South Pacific in association with World Council of Churches, 1992), p. 442.

[14] Vanderbilt, Pierre C. Merillon, Charles H. Thompson, and William E. Belanske took photographs on the trip. “Book by Vanderbilt Depicts World Trip,” The New York Times , December 20, 1930, p. 37.

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One thought on “ captain alfred parker on jaluit atoll, march – april 1937 ”.

I noticed the last pic is ONI #14378, and the “Amelia” pic is #14381. They appear to be from the same camera etc. Any chance you could post #14379, 14380, any others in the sequence/file? I don’t believe the Amelia story, but it would be great to view more images for comparison. Thank you for your post, and for the valuable work of the National Archives!

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24.4m  /  80'1 | sunseeker | 1999 / 2010.

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The 24.4m/80'1" open yacht 'Oscar' (ex. Atso) was built by Sunseeker in the United Kingdom. Her interior is styled by British designer design house Ken Freivokh and she was completed in 1999. This luxury vessel's exterior design is the work of Don Shead Yacht Design and she was last refitted in 2010.

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Oscar has been designed to comfortably accommodate up to 6 guests in 3 suites comprising one VIP cabin.

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Oscar is built with a GRP hull and GRP superstructure, with grp & teak decks. Powered by 3 x diesel MAN (D2842LE404) 1,300hp engines, she comfortably cruises at 30 knots, reaches a maximum speed of 40 knots with a range of up to 400 nautical miles from her 6,529 litre fuel tanks at 30 knots. Her low draft of 1.5m/4'11" makes her primed for accessing shallow areas and cruising close to the shorelines. Her water tanks store around 1,037 Litres of fresh water.

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Sean 'Diddy' Combs accuser Lil Rod adds Cuba Gooding Jr. to sexual assault lawsuit

Rodney "Lil Rod" Jones Jr. , the music producer who filed a lawsuit against Sean "Diddy" Combs last month, has officially accused Cuba Gooding Jr. of sexual assault, naming him as a defendant in his complaint amended Monday.

The civil lawsuit, filed in a New York federal district court, came hours after Homeland Security Investigations agents raided two of Combs' homes .

Jones previously named Gooding, 56, in his February lawsuit, accusing the actor of sexually harassing and assaulting him on a yacht rented by Combs, 54, in the U.S. Virgin Islands in January 2023. Gooding wasn't listed as a defendant until now.

USA TODAY has reached out to Gooding's rep for comment.

According to the lawsuit, Combs attempted to "pass off" Jones to Gooding, introducing him to the Oscar-winning actor and leaving the two alone in a studio on Combs' yacht.

"Cuba Gooding Jr. began touching, groping, and fondling Mr. Jones' legs, his upper inner thighs near his groin, the small of his back near his buttocks and his shoulders," Jones' lawsuit alleges.

The complaint includes a photo that purportedly shows Gooding with his arm around Jones, along with a picture that allegedly shows Combs and Gooding talking on the yacht.

Combs "failed to step in and stop" Gooding from "sexually assaulting" Jones, the lawsuit states.

Original story: Sean 'Diddy' Combs accused of sexually assaulting 'The Love Album' producer in new lawsuit

Gooding  has faced several lawsuits  in recent years  over alleged sexual abuse , rape and forcible touching .

Jones' lawsuit has implicated other celebrities, including rapper Yung Miami , whose unnamed cousin was accused of sexual assault after she allegedly "burst into the bathroom and began groping" Jones during a gathering on Thanksgiving Day 2022. Jones also claims producer Stevie J helped recruit sex workers for Combs and participated in sex parties referred to as "freak-offs" (a term Combs allegedly used to refer to sexual encounters with sex workers) according to the lawsuit.

Jones worked with Combs on  his most recent record , "The Love Album: Off the Grid." According to Jones, he and Combs worked together between September 2022 and November 2023, a partnership that resulted in nine songs on "The Love Album" for which Jones is credited as a producer. Jones also alleges he was not paid for "13 months (and) thousands of hours of work."

Diddy has denied Jones' allegations against him.

Diddy sex trafficking suit: Mogul's parties with celebs like Prince Harry provided 'legitimacy'

Though he is not accused of wrongdoing, the lawsuit names Prince Harry as an example of how Diddy's parties as a "popular and highly influential" figure provided great benefit to the lawsuit's other defendants, Universal Music Group and Motown Records.

"Affiliation with ... Combs garnered legitimacy, immense success, and access to top and emerging artists, celebrities, famous athletes, political figures, musicians, and international dignitaries" including "Prince Harry."

Diddy's homes in New York, Miami raided by Homeland Security Investigations

The amended lawsuit follows the reported raid of two of Combs' homes. The homes were reportedly searched by HSI on Monday as part of a federal investigation.

Federal officials raided Combs' Los Angeles home Monday, according to  Rolling Stone  and local Los Angeles news station  Fox 11 , amid  lawsuits  filed against him from accusers alleging the rapper and music mogul has  raped  or  sexually assaulted  them. Agents also searched Combs' Miami residence Monday, Rolling Stone and  The Associated Press  reported.

If you or someone you know has experienced sexual violence, RAINN’s National Sexual Assault Hotline offers free, confidential, 24/7 support to survivors and their loved ones in English and Spanish at: 800.656.HOPE (4673) and  Hotline.RAINN.org  and en Español  RAINN.org/es .

Contributing: KiMi Robinson

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Motor Yacht

Oscar is a custom motor yacht launched in 2003 by Azzura Yachts, in Australia.

Oscar measures 30.48 metres in length, with a max draft of 1.86 metres and a beam of 6.70 metres.

Oscar has a GRP hull with a GRP superstructure.

Mulder Design, a Netherland-based studio founded by Frank Mulder in 1979, is an independent company specializing in the design, naval architecture and engineering of luxury motor yachts.

Oscar also features naval architecture by Murray & Associates .

Performance and Capabilities

Oscar has a top speed of 20 knots. She is powered by a twin screw propulsion system.

Oscar has a fuel capacity of 15,000 litres, and a water capacity of 3,500 litres.

She also has a range of 1,200 nautical miles.

Other Specifications

Oscar has a hull NB of P903.

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Music Industry Moves: Teddy Swims Signs Global Publishing Deal With Warner Chappell Music

By Thania Garcia

Thania Garcia

• Music Industry Moves: Teddy Swims Signs Global Publishing Deal With Warner Chappell Music 2 hours ago
• Sean ‘Diddy’ Combs’ Properties Raided by Homeland Security as Part of Sex Trafficking Investigation 18 hours ago
• Ariana Grande Holds Top Spot on Albums Chart, Kacey Musgraves Nabs Career-High Debut and Justin Timberlake Lands at No. 4 19 hours ago

Teddy Swims , the singer-songwriter behind “Lose Control,” has signed a new global publishing deal with Warner Chappell Music .

The RIAA platinum-certified single “Lose Control” hit No. 1 on the Billboard Hot 100 in the latest tracking week after spending 32 weeks on the chart. Swims released his debut studio album, “I’ve Tried Everything But Therapy (Part 1)” via WCM’s sister label, Warner Records, last September, which peaked in the top 25 on the Billboard 200.

Swims is best known for a blend of R&B, soul, country and pop music. He signed a record deal with Warner Records in 2019 and began to release his original music, including a series of EPs from 2021 – 2022. His third EP, “Tough Love,” gave him his first entrance on the Billboard 200 as an artist and included his hit songs “Love for a Minute” and “911.”

“Teddy has stayed true to himself every step of the way since we first met in 2020, and now he’s one of the most important new artists in music,” added WCM Katy Wolaver, senior vice president of A&R, and VP of A&R, David Goldsen. “His timeless voice, incredible knack for songs, and unrelenting work ethic make him such an exciting songwriter for us, and we’re so happy he’s chosen Warner Chappell as his publishing home.”

“We’re super proud to be working with Teddy as he takes on this next chapter,” said Ryan Press, WCM’s president of North America. “He’s in a league of his own with one of the most unique voices we’ve heard in a while, and his music both moves and inspires people of all backgrounds. Here’s to many more No. 1’s!”

Ramos joined UMPG in 2013 and most recently served as head of UMPG Brazil’s creative team – A&R and Sync. As senior manager, she was responsible for overseeing creative and licensing music operations for advertising, film and TV, and games. She also worked closely with the company’s A&R team in building diverse avenues to promote UMPG’s writers.

Lioutikoff said, “With tremendous vision and dedication, Adriana has been instrumental to the success of UMPG Brazil and her promotion is much-deserved. As we look to the future, I am confident that Adriana will bring enormous value and energy to UMPG Brazil, both furthering our creative strategy and continuing to ensure that our songwriters are treated with the best care in the world.”

Ramos added, “I am excited to mold the future of Universal Music Publishing Brazil alongside our outstanding team, creating new possibilities for our songwriters and pushing UMP forward as the most innovative, proactive and creative-driven publisher. It is also a historical moment and I’m very proud to extend UMP female leadership to Brazil. I would like to thank Jody Gerson and Alexandra for their trust and support in giving me this opportunity that I take with honor, respect, and commitment to always keep our songwriters first!”

+ Artist Publishing Group has promoted Matt MacFarlane and Olly Sheppard to senior VPs of A&R. Together, MacFarlane and Sheppard will continue to oversee the publishing company.

Over the past few years, MacFarlane has overseen A&R for Taz Taylor and Rio Leyva (Internet Money). MacFarlane, who started as an intern at APG over nine years ago, will continue to drive publishing signings while continuing to develop the A&R team.

In collaborating with the APG Publishing team, Sheppard played a critical role with his team in the signing of Pink Slip, Faangs, JBach and Cate Downey, as well as Inverness and M Phazes, in partnership with Cirkutbreaker.

+ Paulo Londra has signed a new label deal with Argentine label Dale Play Records. Dale Play Records is also home to Duki, Bizarrap , Nicki Nicole , Rels B, Milo J, among others.

With his first album, “Homerun” (2019), Londra amassed enormous international attention and after two years, he released his latest “Back to the Game.” The album featured collaborations with such artists as Ed Sheeran, Travis Barker, Timbaland, Feid and Duki.

In 2022, Londra also performed “The World is Yours To Take,” the official song for the FIFA World Cup alongside rapper Lil Baby.

+ Chingy has signed a new deal with full-service entertainment company Action Entertainment Collaborative (TLC, Billy Ray Cyrus) headed by Nick Meinema.

Said Meinema, “Chiny is a celebrated globally beloved entertainer – we’re thrilled we got the call to represent him exclusively for all areas of live booking.”

+ Downtown Artist & Label Services has signed singer-songwriter Beto Vega and announced it is expanding a current partnership with Mexican record label Kartel Music (Luis R. Conriquez, Tony Aguirre)

Nominated in 2018 for best regional Mexican music album at the Latin Grammy Awards for “Volveré A Ser El Rey,” Vega will benefit from Downtown’s global distribution and marketing offering. He will also be able to utilize the company’s catalog management and full-service campaigns for future releases, including the forthcoming track, “Los Brothers” with Edgardo Nuñez.

Carlos Santos, label manager of Kartel Music commented, “The industry vets at Downtown have been a great team for us to distribute and market our artists’ music, and we’re always happy to work with them. The work they have done for projects like Luis R. Conriquez makes us feel comfortable and confident in their skills – we always feel prepared, and know that while working with them, we’re always ready for what’s next.”

As part of their expansion into música Mexicana, Downtown has added Lorena Cabral to the company as senior manager of A&R for the territory. Cabral reports directly to the Global Vice President of A&R, Bryan Mooney. Cabral also joins Daniella Gutiérrez , who was promoted to senior marketing manager for the region. Also growing the local workforce are Yusim Aladro and Frida Bolio , Latin project manager and regional account manager respectively.

+ Transgressive Records continues its growth in North America with artist manager Moriah Berger joining the company as A&R / marketing manager for the region.

Berger began her career at Paradigm Talent Agency before moving on to Mick Management and later helped launch Other Operation. During her time in management, she worked directly with breakout artists including Muna, Sharon Van Etten, Of Monsters and Men, and Angel Olsen, amongst others.

+ Rimas Publishing has extended its exclusive publishing agreement with multi-platinum singer-songwriter and producer Lyanno .

In a press release, Rimas said the deal “marks a significant milestone in Rimas Publishing’s dedication to modernization,” as it prioritizes its “older contracts to better align with the evolving needs of its clients, prioritizing the empowerment and satisfaction of music creators.”

Lyanno, the Puerto Rican-born hitmaker, first signed with Rimas Publishing in 2017. He has co-written songs and collaborated with top artists, including Anuel, Eladio Carrión, Cazzu, Lenny Tavárez, Rauw Alejandro, Wisin, Young Miko, and more.

+ George Kalivas , A&R head at Warner Music Canada, has left the company to launch Swing , a Toronto-based management company. The first artist signed to Swin is Diamond Cafe, who Kalivas discovered and signed to Warner Music Group.

Kalivas is a Toronto-based music executive, who currently serves as the head of A&R at Warner Music Canada. Kalivas has created creative campaigns for artists including Jack Harlow, Roddy Ricch, A-Boogie wit da Hoodie, Ali Gatie and more. He has also signed unique talents such as Crash Adams, Diamond Cafe, and AR Paisley among others.

+ Hallwood , a full-service record label and management company, has added Roderick “PushaRod” Bullock to the company as VP of A&R/management.

PushaRod was formerly A&R of Urban Music at Interscope, Geffen, A&M Records, where he cultivated a roster of talent including Rich The Kid, Moneybagg Yo, Kamaiyah, Ian Connor, Neechie, Arin Ray, Mitch, and Co Cash. His vast experience led to the spearheading of record labels 4Hunnid and 10Summers and his contributions extend to albums and focus tracks, including YG’s “Stay Dangerous” and “My Krazy Life,” Ty Dolla $ign’s “House on the Hill,” and Moneybagg Yo’s “43vaHeartless,” among others.

As VP, PushaRod will continue to build Hallwood’s roster of talent and work hand in hand with its robust roster of songwriters and producers.

+ Merlin and Deezer have renewed their partnership in an effort to integrate Deezer’s royalty model across Merlin’s membership of independent record labels, distributors, and other rights holders.

Deezer’s new royalty model, which is currently being rolled out in France, includes an incentive for artists with a consistent and engaged fan base, rewards engaging content, and reasserts a focus on music, as well as enhanced fraud detection measures.

“I’m very happy to see that Merlin and its members are embracing Deezer’s artist centric model and joins us in redefining artist remuneration in the streaming era, to make sure artists are paid more fairly for their music,” said Jeronimo Foglueira, CEO, Deezer. “From the start, our ambition has been that the new model should serve all artists with a consistent fan base, including the indie acts represented by the membership of Merlin.”

“Merlin’s mission is to ensure that the voices of its independent members are heard and that they have access to the most innovative opportunities in the digital marketplace while ensuring their artists are fairly compensated,” said Jeremy Sirota, CEO, Merlin. “We have worked with Deezer to ensure their new model works for the benefit of our members, representing a path forward in ensuring that high-quality music, and the artists who create it, are recognized and rewarded in the manner they deserve.”

+ Managment company The Familie has signed Warner Records artist Cecilia , artistically known as CIL.

Nano Tissera, senior VP of music for The Familie, shares, “We’re thrilled to welcome Cil to our familie. After meeting her, it was a no-brainer; we had to be a part of her journey. Cil’s talent has a unique and powerful way of drawing people in, and we’re eager to showcase her work to everyone. Ann Perkins, one of our talented young managers, will be leading the way for Cil. The whole Familie is excited to support and bring Cil’s work into the spotlight.”

+ Cinq Music has signed Lil Mosey  and his label Love U Forever in a global distribution partnership, ahead of the release of his untitled forthcoming EP, to be released in Spring 2024.

Cinq Music, an indie distributor, record label and publisher, includes creators across hip hop/R&B as well as culturally significant performers in Latin music. They are set to amplify Lil Mosey to connect with and expand his global fanbase.

“Lil Mosey is a true superstar,” said Barry Daffurn, Cinq president and Co-Founder. “From our very first meeting, it was clear that Mosey possesses a unique talent and has a clear vision of where he wants to go. Supporting him on this journey and growing our partnership is paramount for us, and we’ve only just begun.”

“I’m excited to finally be able to release independently,” said Lil Mosey. “I’m grateful to have a partner like Cinq and Barry. I know that we will do great things together.”

+ Nova , a new, curated creative freelance network and marketplace, has launched and is now availble in the App Store.

Nova, which started as a private Instagram page, has been shepherded by a number of noteworthy advisors and creative ambassadors including Troy Carter, La Mar Taylor (the Weeknd, XO), Media Empire Ventures (Grimes, Mac Boucher, Daouda Leonard), Daniel Caesar, Sam Teller (SpaceX, Tesla) and Humberto Leon (Opening Ceremony/Burberry/Kenzo), among others.

Over the course of 2023, Nova soft-launched a private Instagram account where they built a grassroots community of creatives that, according to the company, has allowed them to staff “hundreds of jobs in the creative industry weekly. In less than a year, Nova has filled approximately 7500 jobs, ranging from one-off gigs to full time staff positions.”

+ The National Music Publishers’ Association (NMPA) SONGS Foundation (Supporting Our Next Generation of Songwriters) has unveiled a new board of directors.

Founded in 2015 to help aspiring songwriters, the SONGS Foundation has offered scholarships and provided direct financial assistance in addition to other partnerships.

Industry executives joining the board include: Sony Music Publishing Chairman and CEO Jon Platt; Warner Chappell Music Co-Chair and COO Carianne Marshall; Reservoir Founder and CEO Golnar Khosrowshahi; peermusic President and COO Kathy Spanberger; BMG General Counsel and Executive VP Keith Hauprich; Concord Chief Publishing Officer Jim Selby; Kobalt’s Head of Creative Alison Donald; and Universal Music Publishing Group Executive VP and Co-Head of A&R Jennifer Knoepfle. NMPA’s President and CEO David Israelite, Executive VP & General Counsel Danielle Aguirre, and Senior VP of External Affairs Charlotte Sellmyer will retain their positions on the board.

The board will officially launch during its annual fundraising golf tournament in Los Angeles on April 15.

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U.k. scripted content orders — including from streamers — drop sharply. bbc holds steady.

A late 2022 co-production deal for ‘Doctor Who’ between the BBC and Disney is one example of "how funding for high-end scripted commissioning could evolve,” says research firm Ampere.

By Georg Szalai

Georg Szalai

Global Business Editor

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Scripted TV content commissions — including for dramas, sci-fi, crime and thriller programming — dropped 18 percent in the U.K. in 2023, a report from research firm Ampere Analysis has found.

“Major U.K. broadcasters cut spend and most global SVODs trimmed investment in international content,” but U.K. public service broadcaster BBC held steady, according to the report.

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U.K. scripted commissioning activity fell by 48 percent at British pay TV players, 36 percent at commercial free-to-air broadcasters and 21 percent at subscription streaming services, according to its data.

“However, the BBC’s scripted commissions remained stable with the public service broadcaster focusing on kids, family and crime genres, and ramping up literary adaptations and multiple-episode series orders,” Ampere highlighted. Together with the drops elsewhere, this allowed the BBC to boost its share of U.K. scripted TV commissions to 50 percent last year.

How can these findings be explained at a time when then BBC has unveiled cost-cutting measures in response to a freeze in the license fee it receives from U.K. taxpayers and broader economic pressures?

“One of the actions was to cut 1,000 hours of original programming annually and trim spending on original content,” Ampere explained. “However, the impact of these reductions has initially been felt by reductions in cheaper-to-produce unscripted programming.”

The research firm also sees more co-commissioning, which is popular among European broadcasters, as a potential area for further BBC savings. Last year, 13 percent of the BBC’s scripted commissions ordered were co-commissions, Ampere said. “

German broadcaster ZDF uses co-commissioning more extensively, with over 30 percent of its scripted output co-commissioned,” the report highlighted. “The BBC’s late 2022 co-production deal with Disney Branded Television for Doctor Who offers an idea of how funding for high-end scripted commissioning could evolve in the U.K.”

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