Podcast appearances and mentions of Molly Neuman

This interview with Molly Neuman, President of CD Baby, explores her journey from Riot Grrrl musician to music industry executive. Neuman discusses the music industry's evolution, the importance of representation and activism, and the challenges of balancing creativity and business. Gain insights into leadership, the democratization of music, and the ongoing struggle for equality in the industry.

Molly Neuman is the President of CD Baby, a leading music distribution company dedicated to supporting independent and self-releasing artists. With a vast background in the music industry, she has held key leadership positions, including CMO at Downtown Music Holdings and President of Songtrust, where she helped manage millions of copyrights. A passionate advocate for artist empowerment, Molly's career spans roles at Kickstarter and A2IM, and as a member of influential music boards.In this episode, Molly shares her experiences in the evolving music industry, the opportunities for independent artists, and how technology, including AI, is shaping the future. Molly also discusses her leadership role at CD Baby, her advocacy for women in music, and the importance of authenticity in building a successful artist career.Key Takeaways:Learn how AI and technology are transforming the music industry and what it means for independent artists.Discover actionable strategies to build an authentic community and grow a fanbase.Understand the importance of adaptability and seizing opportunities in a rapidly changing industry landscape.----To learn more about Molly Neuman's work and insights, visit: https://www.downtownmusic.com/CD Baby website: https://cdbaby.com/Apply for an Artist Breakthrough Session with the Modern Musician team: https://apply.modernmusician.me/podcast

Festival Season on Roadcase is finally upon us and we're kicking it off from Pitchfork Music Festival in Chicago!! For this Part 1 from Pitchfork, I talked to singer, rapper and multi-genre artist, Tkay Maizda and also had a fun convo with the amazing Riot Girrrrls themselves, Molly Neuman and Allison Wolfe of Bratmobile. Tkay has achieved global recognition already in her brief career, having won NME's Best Australian Solo Artist in 2022. She was also nominated for an ARIA award for Best Rap Song for her 2023 single "Silent Assassin."  But accolades alone do not do her justice; Tkay is a joyous human and a tireless artist, and she talked to me about striving to create and perform at the highest levels. We discussed what it was like growing up in Australia, moving frequently from city to city, how she stayed true to herself and her art.Molly and Allison of Bratmobile are back playing live after a 20-year hiatus and are both super excited to be performing again. Having been at the hub of the Riot Girl movement in the early 90s, Bratmobile waved the flag for the DIY spirit and Girl Power. They both talked to me about their fierce advocacy for Women's Rights and for the inclusion of Women in the music industry both in performance and production roles, and talked to me about all the life they've lived since starting up the band over 30 years ago!This is a great episode with these super compelling artists featuring tons of great stories and tales from the road.  Check it out now!!For more information on Roadcase: https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

Aaron and Randy talk about last week's interview with Bratmobile Drummer / Downtown Records CMO Molly Neuman.

Molly neuman is the drummer for legendary iconic Riot-Girl band Bratmobile as well as being the CMO of Downtown MNusic. She has been on the cutting edge of the recording industry for ther last 30 years from running bay area punk record label Lookout Records to managing bands. She share her thoughts on the current state of the record industry as well as reflecting on her personal journey through music. https://www.instagram.com/therealbratmobile/?hl=en https://bratmobile.bandcamp.com/ https://open.spotify.com/artist/3GTaO7e3uPaG0SJR7Hxy8L

Bratmobile was one of the most visible bands of the feminist punk riot grrrl movement in the early 1990s. As part of KEXP's northwest music column, Throwaway Style, Martin Douglas spoke with founding members Allison Wolfe and Molly Neuman. In this excerpt, they talk about activism, the origins of Bratmobile and the riot grrrl scene.   Read the full interview here: https://kexp.org/read/2023/7/27/throwaway-style-an-interview-with-bratmobiles-allison-wolfe-and-molly-neuman/Support the show: https://www.kexp.org/sound/See omnystudio.com/listener for privacy information.

Have you ever wondered how artists get paid for their work? When one song has multiple musicians, producers, etc, how are royalties paid?   Jeff is joined by Molly Neuman to help us understand how music publishing can be done to benefit creators. Molly is the President of Songtrust, the world's largest and most accessible global publishing administration service. Under Neuman's leadership, Songtrust has grown to represent more than 3 million copyrights for more than 350,000 writers in 145 countries, as well as tens of thousands of business clients including record labels, distributors, and boutique publishers.  She has seen all sides of the industry including creating and performing herself with her punk rock trio called Bratmobile. She's been working in digital music and streaming for nearly two decades and is passionate about empowering artists to understand how music publishing really works.   Big Takeaway: No matter what types of new elegant options emerge, lock blockchain, for example, artists will always face the challenge of getting adequately compensated for their work, and we are sure to see many sorts of examples brought to market to help make it easier.   Follow Molly on Twitter at https://twitter.com/mollydneuman  (https://twitter.com/mollydneuman ) Learn more at songtrust.com  Voices Behind The Music is presented by Feed Media Group and produced by Growth Network Podcasts 

Growing up in the suburbs between Seattle and Olympia the music scene & DIY attitude became deeply ingrained in who I am. From putting on our own shows, to making zines, and connecting community was a way of life. In this episode we talk to a musician, music biz boss, and Riot Grrrl founder - Molly Neuman about how it all came together and how we can keep the DIY spirit alive to make a difference today.

Music publishing has brought fear and confusion to many songwriters over the years. And Host Emily White understands why! There are horror stories of songwriters signing their publishing rights away for a nominal advance in the 20th century, only for their catalog to go on to make millions. But first, what *is* music publishing? And how do you collect on it? The good news is, music publishing is more simple than you might think, and the modern music industry offers ways to collect on that revenue while also retaining your rights. This episode explores all options for collecting on your music publishing revenue. Emily interviews Songtrust President Molly Neuman for a deeper dive into this topic, while also discussing Molly's incredible career. Happy listening! Questions? Reach out to @EmWizzle on Twitter. Book this podcast was based on: https://www.collectiveentinc.com/book2. 10% off w/ code PODCAST Email List to be directly contacted when S2 & the book's next edition drops: https://bit.ly/SustainableList CREDITS: Creator, Executive Producer, Producer, & Host: Emily White Engineer: Nathan Cain Music: Matthew Wang Sponsorship: info@c-ent.com Graphics: Neelu Mohaghegh --- Send in a voice message: https://anchor.fm/sustainablemusiccareer/message Support this podcast: https://anchor.fm/sustainablemusiccareer/support

This week, Andy is joined by Chris Appelgren. Chris took the reins at Lookout Records in 1997 after founder Larry Livermore decided he wanted to move on from the label. Having worked for the label for many years and doing artwork for many of the bands on the label, it seemed like a great opportunity. Under his watch (along with co-owners Molly Neuman and Cathy Bauer), Lookout managed to keep serving up tasty punk rock records from label vets like The Mr. T Experience and Screeching Weasel, to more angular indie-rock bands like Pretty Girls Make Graves and Engine Down. Unfortunately, due to a downward trend in album sales, and being unable to fulfill some royalty obligations to some of the label's top selling bands (Green Day, Operation Ivy, etc), the label had to close shop in 2012. But man, what a run! Besides being co-owner of one of the most iconic punk rock labels of all time, Chris is also a musician. He was the front person for The Pattern and The Peechees, played drums in The Potatomen, among other projects. Nowadays, he continues to work with bands doing graphic art for the likes of The Once and Future Band, and also has a musical project with friends covering obscure songs from the 60s and 70s. During this episode, we discuss his time with Lookout Records, as well as his time performing in The Pattern. We also discuss some of his favorite artists and he gives me his 5 desert island albums. You can find The Pattern, The Peechees & The Potatomen on streaming services. To hear some of the music mentioned on this and our previous episodes, check out and follow this playlist on Spotify: https://bit.ly/3oI01ZU Question The Answers is co-sponsored by The Bad Copy and Sell The Heart Records, be sure to follow them as well to stay up to date on music news, reviews, and to check out the releases on our label. Sell The Heart Records - https://www.selltheheartrecords.com | @selltheheartrecords (IG) The Bad Copy - https://www.thebadcopy.com | @thebadcopy (IG) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Lois Reitzes talks with Georgia State University Professor Emeritus of History Tim Crimmins about confederate monuments in Atlanta; Molly Neuman and Abe Batshon about the virtual Downtown Summer School; and cellist Shana Tucker's upcoming performance at the Elm Street Cultural Arts Village.

This episode features musician, artist, and illustrator Tae Won Yu, of the band Kicking Giant. Tae was deeply involved in and influenced by the early Riot Grrrl and do-it-yourself scene in New York, Washington DC, and Olympia, Washington, where he lived for about a decade throughout the 1990s. Tae, and his music, art, and commitment to creating community and connection have long been an inspiration to me.In this conversation Tae thoughtfully shares his unique experience with and understanding of Riot Grrrl, including how he first met Molly Neuman and Allison Wolfe from the band Bratmobile after reading about their zine Girl Germs in Sassy Magazine. We talk about the power of community, self-expression, and the empowering feeling of creating your own scene, identity, and movement. He describes participating in a moment that has been cited as one of Riot Grrrl’s inspirational turning points: Girl Night, featuring all women-front bands, at the International Pop Underground Convention in Olympia in 1991.He also discusses how the generation of artists who lived in Olympia before him helped inspire Riot Grrrl and feminist art in the Pacific Northwest and showed him how to build a life as an artist. Those artists include Calvin Johnson and Candice Peterson of K Records, Nikki McClure, Stella Marrs, Slim Moon of Kill Rock Stars, Jean Smith of Mecca Normal, and Lois Maffeo.Tae’s reflections are a beautiful tribute to the compassionate encouragement that existed in the early 1990s scene in Olympia and an example of creating a life for yourself as an artist and outsider.You can find the re-issued Kicking Giant record, This Being the Ballad of Kicking Giant, Halo: NYC/Olympia 1989-1993, at Drawing Room Records. If you want to hear more about the early Riot Grrrl scene, Tae is also featured on the podcast Girl Germs, which focuses on Bratmobile’s first album of the same name.Follow Tae on Instagram on his personal account @Taewonyu and his incredible archive of photos from the Olympia scene at @summer_guitars. This episode features the song “Half Lie” by Taleen Kali.

Ride shotgun through the history of crowdfunding with those who made that history, including Mark Kelly from Marillion, Ted Leo, Molly Neuman from Kickstarter, Jayce Varden from PledgeMusic, Brian Camelio from ArtistShare, John Trigonis from Indiegogo, and more! In Episode 1 of this five-part podcast from Berklee Online we'll get into the controversial who did what when of online music crowdfunding, and introduce you to our four featured artists.

Molly Neuman is the Global Head of Business Development at Songtrust and you may know her from her time ar Kickstarter, A2IM, Rhapsody, or eMusic. Molly is best known as a creator of the riot grrrl movement as Bratmobile's drummer and founding editor of the Girl Germs zine. On this episode, Portia and Molly discuss her career and more. Live from Indie-Con Australia 2018.

In 1989, Time magazine pronounced “Feminism is dead.” It seemed to mainstream culture that the conservative era, marked by Regan and Thatcher, had killed the lingering energy that began with the rise of second-wave feminism in the 1960s. And yet, as Rebekah J. Buchanan notes in her new book, Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018), a group of girls and young women were about to start making their own waves. We now call them “the riot grrls,” after one of the zines that they created of the same name. In 1991 Molly Neuman and Allison Wolfe were members of the punk band Bratmobile, and Wolfe explained why they chose this name: “we had thought about Girl Riot and then we changed it to Riot Grrl with the three ‘r's' as in growling. It was a cool play on words, and also a kind of expression about how there should be some kind of vehicle where your anger is validated.” That growl started a movement—of youth culture, of music and print culture, of political activism, and of a new punk feminism—that thrived in the 90s and has remained a lasting influence on how we think about women, music, and culture. Buchanan takes us into world of the riot grrls through their own creations, the zines that they wrote, published, and circulated to understand who they were, what they were about, and why magazines like Time were so wrong. Eric LeMay is on the creative writing faculty at Ohio University. His work ranges from food writing to electronic literature. He is the author of three books, most recently In Praise of Nothing: Essay, Memoir, and Experiments (Emergency Press, 2014). He can be reached at eric@ericlemay.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1989, Time magazine pronounced “Feminism is dead.” It seemed to mainstream culture that the conservative era, marked by Regan and Thatcher, had killed the lingering energy that began with the rise of second-wave feminism in the 1960s. And yet, as Rebekah J. Buchanan notes in her new book, Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018), a group of girls and young women were about to start making their own waves. We now call them “the riot grrls,” after one of the zines that they created of the same name. In 1991 Molly Neuman and Allison Wolfe were members of the punk band Bratmobile, and Wolfe explained why they chose this name: “we had thought about Girl Riot and then we changed it to Riot Grrl with the three ‘r’s’ as in growling. It was a cool play on words, and also a kind of expression about how there should be some kind of vehicle where your anger is validated.” That growl started a movement—of youth culture, of music and print culture, of political activism, and of a new punk feminism—that thrived in the 90s and has remained a lasting influence on how we think about women, music, and culture. Buchanan takes us into world of the riot grrls through their own creations, the zines that they wrote, published, and circulated to understand who they were, what they were about, and why magazines like Time were so wrong. Eric LeMay is on the creative writing faculty at Ohio University. His work ranges from food writing to electronic literature. He is the author of three books, most recently In Praise of Nothing: Essay, Memoir, and Experiments (Emergency Press, 2014). He can be reached at eric@ericlemay.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1989, Time magazine pronounced “Feminism is dead.” It seemed to mainstream culture that the conservative era, marked by Regan and Thatcher, had killed the lingering energy that began with the rise of second-wave feminism in the 1960s. And yet, as Rebekah J. Buchanan notes in her new book, Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018), a group of girls and young women were about to start making their own waves. We now call them “the riot grrls,” after one of the zines that they created of the same name. In 1991 Molly Neuman and Allison Wolfe were members of the punk band Bratmobile, and Wolfe explained why they chose this name: “we had thought about Girl Riot and then we changed it to Riot Grrl with the three ‘r’s’ as in growling. It was a cool play on words, and also a kind of expression about how there should be some kind of vehicle where your anger is validated.” That growl started a movement—of youth culture, of music and print culture, of political activism, and of a new punk feminism—that thrived in the 90s and has remained a lasting influence on how we think about women, music, and culture. Buchanan takes us into world of the riot grrls through their own creations, the zines that they wrote, published, and circulated to understand who they were, what they were about, and why magazines like Time were so wrong. Eric LeMay is on the creative writing faculty at Ohio University. His work ranges from food writing to electronic literature. He is the author of three books, most recently In Praise of Nothing: Essay, Memoir, and Experiments (Emergency Press, 2014). He can be reached at eric@ericlemay.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1989, Time magazine pronounced “Feminism is dead.” It seemed to mainstream culture that the conservative era, marked by Regan and Thatcher, had killed the lingering energy that began with the rise of second-wave feminism in the 1960s. And yet, as Rebekah J. Buchanan notes in her new book, Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018), a group of girls and young women were about to start making their own waves. We now call them “the riot grrls,” after one of the zines that they created of the same name. In 1991 Molly Neuman and Allison Wolfe were members of the punk band Bratmobile, and Wolfe explained why they chose this name: “we had thought about Girl Riot and then we changed it to Riot Grrl with the three ‘r’s’ as in growling. It was a cool play on words, and also a kind of expression about how there should be some kind of vehicle where your anger is validated.” That growl started a movement—of youth culture, of music and print culture, of political activism, and of a new punk feminism—that thrived in the 90s and has remained a lasting influence on how we think about women, music, and culture. Buchanan takes us into world of the riot grrls through their own creations, the zines that they wrote, published, and circulated to understand who they were, what they were about, and why magazines like Time were so wrong. Eric LeMay is on the creative writing faculty at Ohio University. His work ranges from food writing to electronic literature. He is the author of three books, most recently In Praise of Nothing: Essay, Memoir, and Experiments (Emergency Press, 2014). He can be reached at eric@ericlemay.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1989, Time magazine pronounced “Feminism is dead.” It seemed to mainstream culture that the conservative era, marked by Regan and Thatcher, had killed the lingering energy that began with the rise of second-wave feminism in the 1960s. And yet, as Rebekah J. Buchanan notes in her new book, Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018), a group of girls and young women were about to start making their own waves. We now call them “the riot grrls,” after one of the zines that they created of the same name. In 1991 Molly Neuman and Allison Wolfe were members of the punk band Bratmobile, and Wolfe explained why they chose this name: “we had thought about Girl Riot and then we changed it to Riot Grrl with the three ‘r’s’ as in growling. It was a cool play on words, and also a kind of expression about how there should be some kind of vehicle where your anger is validated.” That growl started a movement—of youth culture, of music and print culture, of political activism, and of a new punk feminism—that thrived in the 90s and has remained a lasting influence on how we think about women, music, and culture. Buchanan takes us into world of the riot grrls through their own creations, the zines that they wrote, published, and circulated to understand who they were, what they were about, and why magazines like Time were so wrong. Eric LeMay is on the creative writing faculty at Ohio University. His work ranges from food writing to electronic literature. He is the author of three books, most recently In Praise of Nothing: Essay, Memoir, and Experiments (Emergency Press, 2014). He can be reached at eric@ericlemay.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1989, Time magazine pronounced “Feminism is dead.” It seemed to mainstream culture that the conservative era, marked by Regan and Thatcher, had killed the lingering energy that began with the rise of second-wave feminism in the 1960s. And yet, as Rebekah J. Buchanan notes in her new book, Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018), a group of girls and young women were about to start making their own waves. We now call them “the riot grrls,” after one of the zines that they created of the same name. In 1991 Molly Neuman and Allison Wolfe were members of the punk band Bratmobile, and Wolfe explained why they chose this name: “we had thought about Girl Riot and then we changed it to Riot Grrl with the three ‘r’s’ as in growling. It was a cool play on words, and also a kind of expression about how there should be some kind of vehicle where your anger is validated.” That growl started a movement—of youth culture, of music and print culture, of political activism, and of a new punk feminism—that thrived in the 90s and has remained a lasting influence on how we think about women, music, and culture. Buchanan takes us into world of the riot grrls through their own creations, the zines that they wrote, published, and circulated to understand who they were, what they were about, and why magazines like Time were so wrong. Eric LeMay is on the creative writing faculty at Ohio University. His work ranges from food writing to electronic literature. He is the author of three books, most recently In Praise of Nothing: Essay, Memoir, and Experiments (Emergency Press, 2014). He can be reached at eric@ericlemay.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1989, Time magazine pronounced “Feminism is dead.” It seemed to mainstream culture that the conservative era, marked by Regan and Thatcher, had killed the lingering energy that began with the rise of second-wave feminism in the 1960s. And yet, as Rebekah J. Buchanan notes in her new book, Writing a Riot: Riot Grrrl Zines and Feminist Rhetorics (Peter Lang, 2018), a group of girls and young women were about to start making their own waves. We now call them “the riot grrls,” after one of the zines that they created of the same name. In 1991 Molly Neuman and Allison Wolfe were members of the punk band Bratmobile, and Wolfe explained why they chose this name: “we had thought about Girl Riot and then we changed it to Riot Grrl with the three ‘r’s’ as in growling. It was a cool play on words, and also a kind of expression about how there should be some kind of vehicle where your anger is validated.” That growl started a movement—of youth culture, of music and print culture, of political activism, and of a new punk feminism—that thrived in the 90s and has remained a lasting influence on how we think about women, music, and culture. Buchanan takes us into world of the riot grrls through their own creations, the zines that they wrote, published, and circulated to understand who they were, what they were about, and why magazines like Time were so wrong. Eric LeMay is on the creative writing faculty at Ohio University. His work ranges from food writing to electronic literature. He is the author of three books, most recently In Praise of Nothing: Essay, Memoir, and Experiments (Emergency Press, 2014). He can be reached at eric@ericlemay.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

When you’re in a creative industry, you often encounter what I call Discount Dan and Entitled Ethel. These are the people who shamelessly expect you to provide your creative services for next to nothing. A friend of a friend asks an editor to “just look over” his resume (aka for free), a customer asks a designer to create at least six versions of her company logo by this weekend and is appalled at the expedited fee, and so on. From now on, ladies, don’t undervalue your creative work. Demand respect and appropriate payment for your creative endeavors. After all, just because it’s creative work doesn’t mean it doesn’t have real value. The post Molly Neuman: Know Your Worth; Don’t Undervalue Your Creativity appeared first on On The Dot Woman.

We interview Molly Neuman, a director at Kickstarter, about how their platform helps to support indie music projects. Plus the latest crowdfunding campaigns by Adam Whipple, Sara Groves, Hannah Miller, & more.

Episode #67: Over the last decade, the music industry has become increasingly difficult to navigate -- especially for emerging artists. As the Internet has developed, it's introduced a slew of new issues for creators, but has also provided valuable tools. Some artists are taking things into their own hands by using crowdfunding sites like Kickstarter to launch albums and more. We discuss the trend with Kickstarter's new head of music, Molly Neuman, and hear from Jack Stratton of Vulfpeck, a group that creatively employs crowdfunding platforms and more. PLUS: We introduce the new podcast from Kill Rock Stars and The Guestlist, 'Say Yes.' You can hear pieces from the show on The Future of What over the next weeks, and subscribe at sayyes.link Subscribe to The Future of What on iTunes: http://apple.co/1P4Apk0 Follow us: Twitter: http://bit.ly/2gOYMYM Facebook: https://www.facebook.com/thefutureofwhat/ Instagram: http://bit.ly/1L6T8fl

Episode #22: In this episode, Portia moderates a SF Music Tech panel entitled "The Future of Indies," that was chock full of laughs and indie stalwarts of the past, present and future. Her panelists included: Molly Neuman (A2IM, Lookout! Records, Bratmobile), Bruce Pavitt (Sub Pop, 8Stem), Amy Dietz (INgrooves), Christiane Kinney (LeClairRyan), and Kevin Breuner (CD Baby). The panel discussed their individual introductions to music and the music industry, and provided advice to both musicians and tech entrepreneurs from their unique vantage points inside the industry. GUESTS Molly Neuman (A2IM, Lookout! Records, Bratmobile) Bruce Pavitt (8Stem) Christiane Kinney (LeClairRyan) Kevin Breuner (CD Baby) Amy Dietz (INgrooves) MUSIC Bratmobile “Cherry Bomb” Delta 5 "Mind Your Own Business"

A seminal episode of No Effects with my guest this week, Molly Neuman. Molly played drums in the seminal Riot Grrrl band Bratmobile. But wait, there is much much more. Molly's career in independent music also has included running the seminal punk label Lookout!, managing seminal punk artist Ted Leo, and being VP of seminal trade association A2IM.

Girl Germs, Bratmobile, Lookout!, Indivision Management, Simple Social Graces, eMusic. Molly Neuman has been involved in just about every facet of the music business at a pretty high level. Like many industry veterans, however, she didn't set out to play the game. So it was nice to hear about her journey from enthusiastic zinester to digital music trailblazer.

Punk Rock Bowling presents:We are so cool, yeah, yeah because Molly Neuman is here! Listen in as Damian sits down with the Lookout, Peechees, Frumpies, Bratmobile legend to talk all things punk. From the dawn of Riot Grrl, to the DC connection, to the legacy of Lefty, to punk's life long hangover and so much more: don''t miss this one!Also, don't miss Bratmobile at Punk Rock Bowling in Las Vegas May 25-27! Get your tickets now!Support this podcast at — https://redcircle.com/turned-out-a-punk/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy