Mary Shelley’s Frankenstein is arguably a metaphor for the dangers of the industrial revolution; a hideous monster brought to life by human tampering with, and mastery of, nature. But in our digital age – which some have dubbed the fourth industrial revolution – what is there left to be tampered with? And what dreadful powers could be unleashed by shaking up the world order?
Back in July, CEO Mark Zuckerberg promised that his company would establish a $1 billion creator fund to pay talent through 2022. Now a new report from The Information details how some of that money is being spent. Facebook is paying musicians up to $50,000 to use Live Audio Rooms.
The company has confirmed it’s currently testing a new feature in its app, Discover, which presents a vertical feed of music videos that users can scroll through and optionally like or skip. For those who have access to the feature, it appears as a fourth tab in the navigation bar at the bottom of the Spotify app, in between Home and Search.
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.
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.
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.
Essentially author-approved fan fiction for the Web 3 age, “Realms of Ruin” seemed exciting and ambitious – some even described it as inevitable – until a teaser for the project launched on Twitter and Instagram on Oct. 20. Instead of eager fans, the authors were met with suspicion that quickly turned to collective anger.
In a letter to Justice Department leaders, an outside lawyer for Google said the “reality, and the appearance, of partiality are fairly called into question” by Jonathan Kanter’s past work for the company’s critics. Google pointed to his work with Yelp and the News Media Alliance, which represents publishers including The New York Times Company.