The creator and operator of the blockchain-based KODAKOne Image Rights Management Platform RYDE Holding, Inc recently announced that the Post Licensing Portal component of the firm has generated post-licensing cases of over $1M since it went live in private beta in October 2018. Their web crawler platform scours the web and detects unlicensed usage of images.
While the Music industry is not the current hotbed for applications of AI, we are beginning to see its introduction into the music scene, from studio sessions to live performances. As we prepare for its fated arrival, the big question arises: how can we prepare for a new Music Age?
Indie distributor and publisher CD Baby announced this week that it paid out “well over” $100 million dollars to its member artists in 2018. The nine-figure milestone represents a 25 percent increase over 2017, when CD Baby paid out $80.1 million — itself a 33 percent bump from 2016.
In 2017, the USA’s top 500,000 tracks racked up 14.6-times as many audio streams as every other piece of music. In 2018, however, this multiple had fallen significantly, down to 12.2 times. This hints at an important trend – one which, as we climb further towards the top of the blockbuster hit charts, becomes surprisingly pronounced.
Gamers essentially beta-tested digital currency, and now they’re testing the possibilities of the blockchain. People will soon be using it to tokenize assets within a game. The whole world will now have games that are connected to each other, assets that can be shared in games, not just in the same game but also in all similar games.
NEM Foundation, the Singapore-based non-profit blockchain developer, has signed a MoU with CISPREN, a local trade union of journalists in Argentina to develop a blockchain based solution for copyright protection. They hope to solve the problems of content theft and failure in paying royalties.
What if you could choose the soundtrack to your favorite film or TV show? Or what if a movie on a streaming service could personalize its soundtrack algorithmically to your tastes – and monitor your consumption behavior to inform future curation? What would that mean for licensing?
Late last year, new albums by Queen Carter and Sister Solana appeared on Spotify and Apple Music. But instead of being the surprise releases by Beyonce and SZA that fans believed they were, both turned out to be illegally uploaded rough mixes and stolen tracks.
The decline in earnings is largely because of Amazon’s lion’s share of the self-publishing, e-book and resale market. The conglomerate charges commission and marketing fees to publishers that Ms. Rasenberger said essentially prevent their books from being buried on the site. Small and independent publishers, which have fewer resources and bargaining power, have been particularly hard hit.
Source: Does It Pay to Be a Writer?
In his new book Digital Renaissance: What Data and Economics Tell Us about the Future of Popular Culture, economist Joel Waldfogel of the University of Minnesota argues that digital technologies haven’t killed creative industries, but they have created a renaissance of new cultural products that consumers like and that wouldn’t have made created otherwise.