Although the dispute is fascinating, it may not turn out to be a landmark case for copyright and trademark law in the NFT age. Aaron Moss, an intellectual property attorney at Greenberg Glusker who’s an expert in entertainment cases, wrote in a blog post that this wasn’t really much of a copyright dispute at all and didn’t even have all that much to do with the weird nature of NFTs. It’s more a matter of interpreting Tarantino’s contract.
Source: The ‘Pulp Fiction’ NFT fight isn’t really about NFTs
As Spotify steadily acquires audio content companies and distributors (such as Anchor and Gimlet, which it bought in 2019 for $340 million), and pushes out new features like live audio, paid subscription, video, polls, and other modes of personalization and interactivity, the company is setting out to become not only the biggest podcast platform in the world, but also the most transformative.
Over the weekend, “No Time to Die” eclipsed $730 million in global ticket sales, making the James Bond sequel both the year’s highest-grossing Hollywood film and the top performing film since COVID-19 appeared. However, the movie cost more than $250 million to produce, at least $100 million to promote and tens of millions more to postpone over 16 months. Insiders say “No Time to Die” needs to make closer to $900 million to break even, a feat that would have been realistic had a global health crisis not entirely upended the theater industry.
Chinese technology giant 
For years, crypto believers have been trying to put music “on the blockchain.” And while startups and investors say there’s potential, many artists – at least so far – remain unconvinced. Some services have taken a shot, but most are geared toward artists already immersed in blockchain tech. What about musicians who are put off by crypto, who just want to get paid for their work? Enter Nina, a new digital marketplace for music in the vein of Bandcamp and Discogs.
The platform enables fine art enthusiasts to own “some of the world’s greatest masterpieces” by collectively participating in the art market via the ‘Particalise’ process, which involves splitting art into 10,000 unique NFTs, or ‘Particles’. The ‘Particalise’ process means that each piece has its title deeds stored on the Blockchain, with buyers receiving a digital certificate, or collector’s card, to represent their ownership of the painting.
Aimi says that its platform offers listeners “endless, bespoke experiences” created by DJs and producers “in collaboration” with the platform’s artificial intelligence. Following a limited free period this fall, the premium service of Aimi+ will shift to a paid model, using blockchain technology and smart contracts to administer royalties and revenue to artists using the platform.