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From the Berlin Global Dialogue, Albania’s Prime Minister Edi Rama made a statement that instantly turned heads: his country’s Minister of State for Artificial Intelligence, Diella, is “pregnant” with 83 children — each to become a digital assistant for members of his ruling Socialist Party. It sounds theatrical — even absurd — but the framing was deliberate. Behind the headline lies one of Europe’s most unusual government experiments with AI. Who (or what) is Diella? “Diella” is not a human minister but an AI-driven persona appointed earlier this year to represent Albania’s ambitions in digital transformation. Her creation marked a symbolic shift: an artificial minister introduced as part of Rama’s broader modernization agenda, blending governance and technology. Rama has frequently used Diella to discuss technology policy in a conversational, almost anthropomorphic tone. At Berlin, he pushed that symbolism further, using the metaphor of “pregnancy” to announce the next phase of the project — a set of AI assistants to serve as digital aides within the Albanian Parliament. The “83 AI children” project According to Rama’s comments, each of the 83 Socialist MPs will soon receive an AI “child” derived from Diella’s dataset — trained with expertise in EU legislation, parliamentary documentation, and public records. These digital aides are intended to take notes during parliamentary sessions, track mentions of their assigned MPs, and generate briefings or suggestions for responses. Rama described them as tools to make lawmakers more informed and responsive — or, as he put it, to “say what was said when you were not in the room.” While the language was humorous, the implications are not. If executed as described, Albania would become one of the first nations to deploy AI agents directly integrated into parliamentary workflow. Governance and ethical implications At face value, the plan raises significant questions about oversight, bias, and political neutrality. These AI assistants are reportedly designed exclusively for Socialist MPs, not for the full parliament — raising concerns over fairness, transparency, and data access. Additionally, without clear regulation, it remains uncertain who owns or controls the data these assistants process. Parliamentary records are often sensitive, and introducing automated monitoring without proper safeguards could open doors to privacy violations or political manipulation. Even if the initiative stays symbolic or experimental, it highlights the governance gap in how AI systems are integrated into state functions. A glimpse into tomorrow’s politics Rama’s announcement might blend performance and policy, but it reflects a real global shift. Governments everywhere are exploring AI integration in public service, from citizen chatbots to legislative support tools. Albania’s approach — combining satire, symbolism, and substance — suggests a political style that both entertains and experiments. It may be remembered less for its metaphor than for the conversation it sparks: What happens when artificial intelligence begins to act, even symbolically, within government power structures? Whether Diella’s “83 children” materialize or remain a rhetorical flourish, Edi Rama has succeeded in placing Albania on the map of AI politics.His message — half metaphor, half manifesto — pushes Europe to confront an uncomfortable question:Are we ready for governance where ministers can be coded, and their “children” can legislate?

A video from Uyo, Akwa Ibom — now widely shared across social feeds and embedded by several local outlets — shows Odumodublvck in a heated on-site exchange with a member of Blaqbonez’s team. The clip surfaced in mid-October 2025 and was picked up by multiple publishers; as of this article there are no public criminal filings tied to the incident, only the viral footage and team statements that followed. To read this moment properly, start with the music. Odumodublvck’s 2025 project INDUSTRY MACHINE  has positioned him as an artist working with street textures and uncompromising lyrical posture; Blaqbonez’s recent rollout — including the single “ACL” — has leaned on sharp hooks and high visibility. Several outlets report the Uyo confrontation followed the release and social traction around “ACL,” which many listeners read as a provocation. That overlap of record and real-time encounter is what drives the current interest. The reason this matters for the scene is structural: when lyrical content, public events and social clips collide, promotional cycles become multi-platform events. In another era a diss line might die on a record; now, it circulates as short clips, memes, and amplified commentary, turning a promotional push into a broader cultural moment. Promoters, festival bookers and playlist curators notice because these moments shape narrative and demand. What is verifiable right now : multiple outlets have published the same viral video and reported on a tense encounter between Odumodublvck and a female member of Blaqbonez’s camp (named in some reports as Morin Oluwatobi). Team statements and social posts have followed, and several publishers relay accusations from Blaqbonez’s side that include claims of threats across cities; however, those claims remain team statements rather than court-record facts. No arrest records or public filings connected to the Uyo incident appeared in the reportings made so far. At 99 Pluz, our editorial framing separates the verified record (the release dates, the published video, on-the-record statements) from interpretation. For now, the Uyo clip is a flashpoint. Whether it becomes a defining chapter in either artist’s year depends on what follows: formal statements, promoters’ booking decisions, and whether either side escalates the matter beyond public commentary. If new official filings or verified developments appear, we will update this story with source links and clear timestamps.

There are collaborations that feel like marketing checks and collaborations that feel like deliberate artistic invitations. " Raindance," the Tems-featured track on Dave’s  The Boy Who Played the Harp, is one of the year’s most understated cross-genre moments — a Dave and Tems collaboration that feels deliberate and emotionally grounded. The album’s official credits confirm Tems’ appearance, and the song itself behaves like a carefully staged scene: sparse in its production, generous in space, and attentive to mood. Listen closely and you notice the architecture. The percussion is economical; the keys and atmospheric textures breathe and leave room in the midrange. Tems provides the melodic center — a chorus that feels incandescent and slightly weathered, the kind of voice that can carry both intimacy and gravitas. Dave approaches the verses with economical storytelling: images, not long expositions, each bar a needle-sharp detail. The pairing works because each artist respects the other’s lane and contributes what the track needs most: Tems gives the heart, Dave the framing. 99Pluz Editorial Review on the Dave and Tems Collaboration — by Chinenye Mbakwe ( Multidisciplinary Music Executive ) “If Dave wasn’t a rapper, he’d prolly be a screen/scriptwriter or movie director, cos man’s an intelligent storyteller, not just a rapper. This album feels like a series, with each episode having its own unique story.And if that’s not Art!, I don’t know what else is 🤷🏾” Originally shared via her verified X (formerly Twitter) handle @nenyembakwe , Chinenye’s review captures the cinematic storytelling essence of Dave’s artistry — particularly on “Raindance.”  Her take now forms part of the 99Pluz editorial series spotlighting unique perspectives from our senior contributors. From a 99Pluz editorial perspective, the collaboration is notable on two levels. One, it confirms the maturation of transatlantic creative ties — this is not a one-off feature, but part of a pattern where UK lyricists and African vocalists produce music that is idiomatic to both markets. Two, it shows that restraint can be as compelling as maximalism: the track’s power arrives in how little it asks of you on first listen and how much it reveals on repeat listens. Sean’s Brief: A Chief Editor’s Take There are a handful of artists who can make an album feel cinematic; Dave is one of them. “Raindance”  is a scene in miniature — carefully lit, with a lead performance and supporting lines that deepen the mood. It’s not designed for immediate virality so much as sustained resonance. That makes it one of the week’s most interesting cross-market moves.

When two established voices in Afrobeats combine forces, attention follows — and “Who’s Dat Girl”  is proof of that pull. Released in mid-October, Ayra Starr and Rema’s collaboration arrived with a cinematic video and a clean, melodic production that foregrounded vocal performance. The result was immediate: playlists picked it up, the visuals gained replay traction, and Nigerian social feeds lit up with commentary. Across reactions, three threads stand out. First, the simple celebration — fans who’ve followed both artists saw the pairing as a natural extension of their chemistry and artistry. Second, the comparative conversation — listeners debated whether the single pushed either artist into a new creative space or simply refined what they already do best. And third, the visual element — the Meji Alabi-directed video sparked short-form trends, edits, and dances that helped the record travel beyond its initial drop. 99Pluz Editorial Review — on the Ayra Starr and Rema collaboration Chinenye Mbakwe — Multidisciplinary Music Executive (99 Pluz) “ ‘Who’s Dat Girl,’ in my opinion, is a strong Afro-fusion of Afropop, R&B & Dancehall that blends cleanly without drowning their vocals. I like that the track is less ‘made for Naija clubs,’ more ‘made for global playlists,’ which proves their range. But then this is a whole blueprint for upcoming artists, cos as I like to say: build your sound first, then cast it globally. And bruh, that Meji Alabi video? Clearly cinematic, with mad replay value. P.S. abeg na Ayra first do Cleopatra-style o, bfr anybody go talk say she don copy. 😌” Originally posted via her verified X (formerly Twitter) handle @nenyembakwe , Chinenye’s review captures the balance between creative depth and global accessibility — positioning “Who’s Dat Girl”  as both a cultural flex and a visual statement. Sean’s brief: a Chief Editor’s take This record trades instant club overload for playlist longevity. It’s precise where many club tracks go maximal; it’s cinematic where most pop songs stop at catchy. Ayra’s poise meets Rema’s elasticity, and the production gives them space to coexist without competition. From a strategic lens, “Who’s Dat Girl”  signals something deliberate — a pivot from local dominance toward sustained global resonance. For now, its momentum across social platforms reinforces a truth the Afrobeats scene sometimes forgets: when chemistry meets craft, even a crossover move can still feel like homegrown art.

Rapper Emeka Akumefule, professionally known as Blaqbonez, has publicly denied allegations of cyber-harassment, blackmail and privacy invasion after reports of a petition filed by a complainant surfaced online. According to reporting in national outlets including Premium Times  and TheCable , the petitioner — identified in reports as Jane Doe  through legal representation at Bristol & Mortglass C.S. — alleges that the artist engaged in acts described as cyberstalking, blackmail and the non-consensual circulation of private material following the end of a personal relationship. The petition reportedly asked the Nigeria Police Force to investigate, citing emotional and psychological harm. Blaqbonez breaks his silence At 9:00 p.m. on October 27, Blaqbonez posted on X (formerly Twitter) to deny the allegations. In the thread he called the claims “false and deeply distressing,”  described them as part of a broader pattern of harassment he says he has experienced within the industry, and said he is cooperating with authorities to establish the facts. “Over the past few days, several false and deeply distressing allegations have been circulated online about me… I have done nothing wrong,” he wrote.“I’m cooperating fully with the authorities to ensure that the truth is established once and for all. I have nothing to hide, and I welcome transparency.” Blaqbonez also framed the issue as connected to a past personal relationship that he says ended respectfully; he suggested the matter has been pulled into a wider professional feud. The X post has generated significant engagement, with reporting noting thousands of views, retweets and mixed reactions across social platforms. What’s verified — and what remains unconfirmed At the time of publication: Multiple media outlets have published reporting based on the petition and public social media posts. The petition’s existence is reported via the complainant’s legal representatives; however, there is no public police statement or court filing confirming formal charges or an ongoing prosecution as of this article. The specifics cited in the petition (alleged private material and accusations of blackmail) are reported claims and not court-proven facts. Both parties’ public statements — the complainant via counsel and Blaqbonez via social media — are on the record. Those statements are not the same as formal charges, and they remain unproven until verified through police filings or court proceedings. This situation raises urgent questions about digital abuse, privacy and accountability in the Nigerian entertainment industry. 99Pluz will continue to monitor primary sources — police statements, official filings, and on-the-record comments from legal representatives — and will update this story if and when new verified information appears. Disclaimer This article is based on verified media reporting and public social posts. Sensitive details have been omitted for privacy and legal safety. All subjects are presumed innocent until proven guilty. Reporting compiled from national outlets and the complainant’s public legal representation and verified public social posts from the artist. 99Pluz will update with direct links to official police or court records should they become available.

On October 3, 2025, Sean “Diddy” Combs was sentenced in Manhattan federal court to 50 months in prison following convictions earlier this year on transportation-related counts connected to prostitution. The judge also ordered five years of supervised release and a $500,000 fine. Jurors had acquitted Combs on the more severe racketeering and trafficking charges, but the transportation convictions nevertheless led to a custodial sentence. His legal team has stated publicly that an appeal is forthcoming. This is not simply a high-profile court story; it is a development with immediate consequences for the music business. Combs’s role in the industry goes beyond his status as a performer: for decades he has operated labels, festivals and brand partnerships that intersect across markets. A sentence of this scale triggers practical reactions — contractual reviews, reputational assessments and operational planning — from partners who work with his businesses. For industry stakeholders the questions are concrete. Promoters and festival organisers will consult counsel and review clauses that relate to morality, force majeure and reputational risk. Brands that currently license or partner with Combs’ properties will assess their exposure and messaging. Labels and rights holders tied to projects or catalogue stewardship may begin contingency planning while legal proceedings continue. Those are predictable, business-level follow-ups that often follow major legal rulings involving executives who remain commercially central. For the public and the culture, the case sharpens wider conversations about accountability in entertainment. Social feeds and opinion columns have already taken up the debate; some commentators frame the sentence as a test of institutional accountability, while others focus on the individual legal arguments and the appeal process. At 99 Pluz we will not conflate comment with fact: our reporting will stick to court filings, official statements and reputable reporting. What to expect next — and why it matters The most likely immediate actions are formal motions and the commencement of an appeals process. Those filings will be public and become the primary sources for subsequent coverage. Separately, commercial partners may issue statements or quietly reassess contracts. In many cases the effect is not a single headline but a cascade of small business decisions — postponements, revised PR plans, or contractual windows being exercised. It’s also worth noting how public opinion and commercial decision-making interact. News like this often produces rapid social commentary; those conversations, amplified by platforms and influencers, can influence brand choices and festival programming. That dynamic does not replace legal fact, but it does shape the practical environment in which rights holders and promoters operate. How 99 Pluz will cover this story Our immediate coverage will remain evidence-first: we will publish a plain-language timeline of the public filings and court events, and we will produce an explainer about the likely industry impacts — what festival programmers, brands and labels typically consider in episodes like this one. We will update the article as new, verifiable information emerges: filings, official statements from counsel, or formal announcements by partners. We will not publish rumours, leaked private communications or unverified claims. Instead, 99 Pluz will track the documents and statements that are on the public record and provide clear context so readers understand both the legal facts and the practical implications. (We will maintain a live timeline and linked source list for readers to follow developments.)

Grammy-nominated Afrobeats artist Great Adamz  is back with “ Jeje ” , a pulsating Detty December anthem that captures everything we love (and barely remember) about festive season nights. It’s out now on all streaming platforms — the kind of record you’ll want on repeat before the party even starts. Great Adamz’s “Jeje” — The Sound of Detty December In Yoruba, “ Jeje ”  means “gently” or “take it easy.” But don’t be fooled — this is a full-blown club record. Built on hypnotic drums, sultry melodies, and Great Adamz’s signature vocal charisma, it channels that unmistakable December energy: flashing lights, laughter, and fleeting moments on the dancefloor that somehow last forever. “ Jeje is that Detty December vibe in one song ,” Great Adamz says. “It’s about those nights you don’t forget — or can’t fully remember — but also knowing when to take it easy. That’s the balance.” The single follows a remarkable run for the Grammy-nominated artist. His hit “ Funke ”  topped the Music Week Black Music Top 20 Club Chart , while collaborations like “ Body and Soul ”  (with Maddox Jones) and “ Kilon So ”  (with Nigerian rap icon Erigga ) have highlighted his versatility and cross-cultural reach. Earlier this year, he lit up the BBC Introducing Stage  at Latitude Festival , earning praise for his magnetic stage presence. Fresh off his acclaimed Blessed Boy  album — currently nominated for Best Global Music Album  at the GRAMMY Awards  — Great Adamz is proving himself one of Afrobeats’ most dynamic exports. His single “ Love Your Neighbor ”  is also up for Best African Music Performance , sealing what has been a defining year for the artist. “ Jeje ”  isn’t just a song — it’s the sound of December in motion. Late nights. Champagne spills. The girl you met on the dancefloor. It’s the rhythm that keeps Lagos, London, and every Afrobeats city alive through the festive chaos — reminding everyone that sometimes the real flex is moving jeje  — easy, confident, and in control. 🎧 Listen to “Jeje” here:   li.sten.to/jejegreatadamz About Great Adamz Great Adamz  is a Grammy-nominated UK-based Nigerian Afrobeats artist celebrated for his infectious energy, rich storytelling, and genre-blending sound. With multiple #1 singles on iTunes Nigeria , a MOBO Unsung Class  recognition, and collaborations that stretch across continents, he continues to champion African sound globally. Highlights: GRAMMY Nominee – “ Love Your Neighbor ”  (Best African Music Performance) GRAMMY Nominee – Blessed Boy  (Best Global Music Album) #1 – Music Week Black Music Top 20 Club Chart  ( Funke ) Golden Star Artist of the Year (Diaspora) Afrobeats/Afropop/Dancehall Artist of the Year – Northamptonshire Local Music Awards BBC Introducing Stage performance at Latitude Festival Follow Great Adamz on Facebook  | Instagram  | Twitter  | TikTok  | YouTube For press and media inquiries: the99group11@gmail.com | @99pluz | www.99pluz.com

Where Creativity Meets Strategy, and Ideas Turn Into Impact We’re excited to officially welcome you to The 99 Pluz   a dynamic hub designed to amplify voices, empower brands, and push culture forward. Whether you’re an artist, a business, or a creative thinker, our mission is simple: to give your vision the platform it deserves. At The 99 Pluz , we’re not just a team we’re a movement. Every campaign, every collaboration, and every project is powered by innovation, strategy, and a shared passion for making ideas come alive. Who We Are The 99 Pluz is more than a brand it’s a collective of thinkers, creators, and strategists  working together to build meaningful connections between people, culture, and brands. We combine creativity with data-driven insights to deliver strategies that don’t just reach audiences they resonate with them. What We Do Here’s a closer look at the divisions that power The 99 Pluz : 🎶 Music PR Division Designed to put your music in front of the right audience. From media coverage  and playlist placements  to show promotion , we handle it all. We work with artists, managers, and labels to create tailored campaigns that grow audiences and build lasting buzz. 📢 Brand PR Division We amplify companies, products, and campaigns  through curated editorial placements and powerful social media exposure. From press features  to influencer collaborations , we make sure your brand stays visible and relevant in today’s fast-paced world. 📊 Guaranteed Strategic Planning Success is never an accident — it’s the result of thoughtful planning. Our strategic planning team maps out clear, actionable roadmaps that deliver measurable results. From market research  to campaign execution , we ensure every step is aligned with your vision. 🌍 Campaign Development & Management Big ideas need structure. We design and manage end-to-end campaigns that tell your story, engage your audience, and maximize impact. Whether it’s a product launch, a cultural movement, or a digital-first campaign, we bring it to life seamlessly. 📱 Social Media Strategy & Content Your audience lives online — and so do we. From crafting engaging content to building strategies that grow your community, we help brands and artists stand out across social platforms. 🗞 Editorial & Media Relations We connect you with the right publications, journalists, and outlets to tell your story the right way. Our media relations team ensures your message reaches audiences that matter most. Why The 99 Pluz? Because we believe in going beyond 100% . Our name represents the extra value, the hidden energy, and the creativity that transforms good ideas into unforgettable ones. When you work with us, you don’t just get services — you get a partner who invests in your vision . Join the Movement Whether you’re an artist trying to break into the spotlight, a brand ready to launch something big, or a visionary with a story to tell, The 99 Pluz  is here to make it happen. 💡 Let’s build. Let’s create. Let’s amplify.  Welcome to The 99 Pluz  — where strategy meets creativity, and your vision becomes impact.

Playlists do more than collect songs — they point to moments. At The 99 Pluz, we think of playlists as small editorial gestures: curated lanes that highlight mood, momentum and cultural movement. This post is a short preview — we’re not opening submissions yet, and a full curation deep dive will be published later. Below are the lanes we’re building, described at a glance. Think of this as the map legend, not the map itself. 99 Pluz New Music (Launchpad):  Fresh releases and first listens. Rising Rhythms:  Emerging artists gathering steam. Pulse 99:  High-energy tracks for movement and moments. Vibe Sessions:  Late-night, mood-driven selections. Global Heatwave:  Cross-border sounds with broader reach. Under the Radar:  Experimental and independent picks. That’s it for now — a directional preview to help you imagine the kinds of stories we’ll curate. We’re saving the how-to (our full rubric, timing, and submission windows) for a proper deep dive — because when we open the process, we’ll do it transparently and with clear rules. If you want first access to that guide, sign up for the 99 Pluz Weekly Brief and we’ll send the deep dive to subscribers first.

Welcome. If you’ve found your way here early, thank you — you’re seeing the place before it opens fully. The 99 Pluz exists because we believe culture deserves care: careful listening, honest context, and work that helps people build things that last. That’s the promise behind our name and the reason we show up the way we do. This is a short note on what you’ll find here and why it should matter to you. We cover music — and everything it touches Music is our starting point but not our limit. You’ll read about songs, artists and playlists — yes — but you’ll also find the stories that orbit those songs: the social moments, the business decisions, the visual choices, and the ideas that give music its cultural meaning. We’re interested in what music does, not just how it sounds. Culture with context (not hot takes) There’s a difference between noise and signal. We don’t chase the loudest headline. Our pieces aim to explain — to show how a sound, a campaign or an idea fits into a larger cultural pattern. Short explainers, longer essays, and timely commentary will sit together here. All of them will ask: why does this matter today, and what does it mean tomorrow? Opinion that opens the conversation Expect clear, respectfully argued points of view. Opinion pieces will be grounded, not contrarian for clicks. We’ll offer perspectives that start conversations rather than end them — and when we’re wrong, we’ll say so and explain what we learned. Playlists as editorial projects Our playlists are editorial products: curated, purposeful and reflective of the moments we care about. We’ll use playlisting to tell stories — to introduce listeners to scenes, to highlight transitions in sound, and to create context around artists. For now, we’re curating in-house; submission rules and windows will come later, with transparency. Brand stories — with integrity We work with brands and creatives, but the editorial page remains a space for honest storytelling. Our coverage of campaigns and brand work will focus on craft and cultural fit, not ads in disguise. When we spotlight a brand, it will be to show what others can learn — the idea, the execution and why it moved people. Practical tools & resources We don’t publish for the sake of publishing. Expect practical toolkits, checklists, and short how-tos that help artists and teams ship better work: release prep, pitching templates, and quick guides that save time and improve outcomes. Reviews — short, fair, and useful When we review music, shows or campaigns, we’ll be concise, honest and constructive. Reviews aren’t scorecards — they’re context: what worked, what didn’t, and why the piece matters (or doesn’t) within a larger cultural conversation. How often — and how we’ll play it Quality beats quantity. We’ll publish with a steady, readable cadence — a mix of quick takes and deeper reads — rather than a frantic daily churn. The goal is to be worth returning to. A final note If you want signals more than noise, you’re in the right place. The 99 Pluz aims to be useful to creators, helpful to brands, and interesting to people who care about culture. We’ll publish with humility and standards: context first, craft second, generosity always. If you want the earliest updates — playlists, resources and submission windows — sign up for the 99 Pluz Weekly Brief. We’ll keep you posted.

We didn’t choose this name because it sounded cool — we chose it because it explains how we work. “99” says something simple and generous: we approach everything with near-complete craft. We admit there’s always room to learn. We refuse complacency. The “+” — the Pluz — is our promise: the extra thought, the extra care, the extra layer of creativity and strategy that turns a good idea into something memorable. That combination — rigorous craft plus deliberate generosity — is the guiding principle behind everything we publish and produce. A philosophy, not a slogan We’re comfortable with imperfection because it fuels curiosity. Saying “99” is an argument against perfection-theory and a commitment to excellence in practice. It’s honest: work that’s deliberate, professionally done, and grounded in culture — yet human enough to be changed and improved. The “+” is not decorative. It’s active. It’s the part of our work where strategy meets imagination: where a campaign earns attention because the idea had one more layer. Where a playlist moves beyond filler to become a cultural moment. Where an artist’s story is shaped so it can be heard. That extra is the difference between noise and meaning. Why it matters to artists, brands and readers Names matter only when actions match them. For artists, the 99 Pluz promise means we care about the details that change outcomes: clean metadata, a clear narrative for each release, and promotion that respects both craft and context. For brands, it means measured creativity — campaigns that aim for cultural fit and durable results, not vanity metrics. For readers, it means writing and curation that help explain why a song, a moment or a campaign matters. Put simply: we’ll never trade rigor for trend-chasing. We are builders — editors and strategists who believe that thoughtful work scales. If you come to this site expecting fads, you’ll be bored. If you come for ideas that last, you’ll find your people. Our link to The 99 Group The 99 Pluz sits inside a family of builders. Our name nods to The 99 Group  — the shared values, networks, and resources help us move faster and smarter, but the editorial choices, the playlists, and the stories we tell are ours. We bring the discipline and systems of a larger outfit, with the curiosity and cultural instinct of a small, focused editorial team. How this shapes what we publish If the name is the promise, our content is the delivery. Expect three consistent commitments across everything we put out: Context first:  We explain why things matter — not just what happened. Craft second:  Every piece, playlist, and campaign is built with practical standards. Generosity always:  We share tools, templates and honest analysis so the scene grows with us. Those commitments guide our editorial rhythm: a mix of short, useful toolkits; thoughtful essays and features; curated playlists; interviews with makers; and industry explainers that help artists and teams make better choices. A small manifesto We are not here to collect clicks. We are here to create signal. We will: Be thoughtful in what we amplify. Be clear about how and why we choose. Share rules and templates when they help. Admit mistakes and learn out loud. Add one useful thing to the cultural conversation every time we publish. What this means now For the site’s soft launch you’ll see quiet, purposeful posts that show what we value. Over time you’ll see deeper guides, playlist projects, and collaborations. When we open certain doors (like playlist submissions), we’ll do it transparently and with clear rules — because the “+” is also a promise of fairness. If you’re an artist, creative, or brand: prepare with care. If you’re a reader: expect thoughtful curation that treats music and culture as serious work and a shared celebration. Want to stay updated?  Subscribe to the 99 Pluz Weekly Brief for earliest notices on playlists, features, and resources.