In a world where a viral internet meme of a dog can be sold for an eye watering US$4 million as a non-fungible token, the limit to making money from recreations of original artwork if you own copyright could be virtually endless. And that’s why traditional artists, art galleries and buyers are worried.
In August, a digital artist who closely guards his personal identity, going only by the online alias “loafgren,” did what the masters of his trade do best. He stole. Loafgren slapped a copy of “polka dots,” a famous work by Damien Hirst, one of the world’s most prominent artists, on a digital image of a pair of Crocs.
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.
The coronavirus closures prompted many theaters around the country to experiment with online offerings. Now, even though theaters have reopened, a new Broadway play is planning to try streaming some performances. Second Stage Theater, a nonprofit that operates a small Broadway house, plans to sell a limited number of real-time, virtual viewings in January.
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.
Looking for the soundtrack from your favorite Netflix show? Now, it will be easier to find thanks to an expanded partnership between Netflix and Spotify. The streaming music service today introduced a new “Netflix Hub” on its app, which will offer a centralized place for finding the official soundtracks, playlists and podcasts for top shows and movies on Netflix.
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 NetEase Inc. has confirmed that its subsidiary Cloud Village – which operates music streaming service NetEase Cloud Music – will list on the Main Board of the Hong Kong Stock Exchange on December 2 under the symbol “9899.HK.” A pre-IPO prospectus reveals three “cornerstone investors” are backing Cloud Village’s listing: current parent company NetEase, Orbis Investment Management Limited, and last – but definitely not least – Sony Music Entertainment.
The round was led by Octopus Ventures, with participation from existing management and shareholders. Synchtank’s latest investment round follows a total of $750,000 seed funding from management, shareholders, and Juno Capital Partners in 2020, bringing the total raised in the past year to $6.6 million.
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.