Phiona Okumu: The woman making major decisions at Spotify for African artistes

It’s not every day you get to talk to someone as influential as Phiona Okumu, a former music journalist now Spotify’s Head of Music in Sub-Saharan Africa.

It took me three months to get the attention of the Kenyan-born Ugandan music executive, tasked with solidifying the presence of the giant Swedish audio streaming platform in Africa which launched in Kenya in February 2021.

Phiona has been busy towering the continent, studying the 40 new markets Kenya included, laying strategies and foundations to ensure the multibillion-dollar hit-making business becomes successful in Africa as it already is abroad.

Phiona was destined to be in the music industry. In her university heydays at Rhodes University in South Africa, she was a Deejay and admits to being the reason why she didn’t do so well on her Bachelors of Commerce, Economics, and Statistics degree.

“I was too obsessed with music and too focused on media relations,” says Phiona.

A child of many worlds

Although born in Nairobi to Ugandan parents, her family moved around quite a lot when she was young which best explains why she considers herself Ugandan, Kenyan, and South African.
“The three countries make my heritage,” she beams.

Her mother worked in various administrative roles with her last assignment as a Project Manager at the United Nation before retiring. The family also lived in South Africa for years as her parents pursued their respective careers.

Phiona’s family would later move to the United Kingdom for some years during which period, her father, a teacher by profession graduated from Sheffield University.

However, Phiona’s journey to the top has not been all rosy. But the moving around and the challenges that came with it taught her to be prepared for any eventualities.

Still, it didn’t shelter her from all life’s tribulations. In the year 2000, she tried to get her footing in to the music industry, when her friends and herself decided to organize a major concert in Johannesburg, South Africa.

“The task was to host, American chanteuse Lauryn Hill who was ruling the charts at the time, as the main headliner,” Phiona divulges. 

They had been in constant talks with the ‘That Thing’ hit maker management but the engagement broke down on the eleventh hour with Hill infamous for cancelling shows, saying she wasn’t going to make it. Sponsors immediately withdrew.

“We lost all the money we had invested. I had thought because I loved music we could pull off the event,” she reflects.
After the devastation, Phiona left South Africa for the United Kingdom to learn more about music management taking every blue-collar job that came her way— bartending, waitressing, cleaning—to make ends meet.

Dealing with failure

While in the UK she kicked off her journalism career, serving as a freelance writer with UK’s New Nation black community newspaper and later the Guardian in the UK.

“There is where my journalism began, writing music articles and interviewing the star celebrities of the time. Her journalism career landed her an opportunity to curate music for a platform based in Netherlands called 22 tracks, which was then an innovative streaming service.

“This was long before the world of playlist opened up.”
By the time she was getting into the tech world around 2015-2016, she was an authority in music and public relations. At this point in time, she had served 14 good years as a music journalist and public relations consultant.

Her big break came when Apple Music launched in June 2015. This is the job that introduced Phiona to the world of streaming business.
At Apple Music, Phiona handled editorial work and managed artist-label relations for the platform for three years before jumping ship in 2019.

“I joined Spotify in 2019 and I was in charge of artists and label partnerships. I was representing artists, advocating for them in the organisation, and working on partnerships that would benefit both parties. Two years later, when we launched Spotify in the rest of Africa having already existed in South Africa for two years, I was promoted to the Head of Music. So right now, I’m responsible for music strategy for Africa, and we have some amazing plans coming up,” shares the former Afripop! Magazine Editor.

Spotify opportunity

Under her current docket, Phiona leads a team of cultural experts, in this case, editors, artistes, and label partner managers to execute the company’s music strategy.

As the boss, Phiona operates a strictly  localised policy.

“Every region has a music editor who understands the local dynamics. They then report to me on their market,” Phiona shares.

Despite being in a different world, Phiona still sees a lot of similarities between her current job to the one in which she filed editorial copy.

“Both roles require a well-honed instinct for what’s next in culture. I had been a music journalist by the time my partner and I started the blog, Afripop! The only difference is that data is integral to the role with Spotify. For example, our team’s decision to get behind genres like Amapiano was and continues to be guided by what analytics say about the way that music and culture are expanding in Africa,” says Phiona.

Her days are varied as they are reflective.

“No day is the same. My job is to amplify the music of the continent throughout the diaspora,” Phiona says while adding, “on a good day, I’m speaking to every single corner of the world, making sure that everybody understands that Africa is not a trend for us.”  

Despite being in existence since 2006, the Swedish audio streaming service, Spotify, only launched in Kenya in February 2021. The streaming service also expanded to Nigeria, Ghana, Uganda and Tanzania who joined other African markets –-South Africa, Morocco, Egypt, Algeria and Tunisia— where it launched in 2018.

Spotify is the highest paying music streaming platforms in the world and saw Kenya join the over 345 million monthly active listeners to stream popular music and podcasts on the free platform with an additional premium subscription that offers ad-free streaming.

So why did the company take so long to enter the Kenyan market?

“Every market has different nuances and therefore customization is key. We took time with the expansion because entering a new market without what it takes to figure out different audiences would be a miss. We wanted to be sure how we would connect with Kenyan music lovers and creators. We also wanted to ensure we have the right payment structure and partnerships set up in Kenya before we could finally announce our expansion. These things take time to implement,” Phiona shares.

Projecting growth

Even though these are still early days Phiona sees growth in the Kenyan market.

“Kenya is one of our fastest growing markets, and we attribute this growth to a variety of factors including the provision of localised content, integrating payment methods that work for the market as well as supporting, collaborating with, and highlighting local creators.”

Since the launch, Phiona says there has been a 25 percent increase in the number of artistes, and over 8,000 songs have been added to the platform. Last year Spotify paid  7 billion dollars as royalty to artistes across the globe.

However  Kenyan artistes are yet to start milking money from the platform as is the case with the video streaming platform YouTube, but Phiona maintains there is no reason to panic.

“Artistes on our platform can be assured that they will be compensated and acknowledged for sharing their music,” she assures.

Roughly two-thirds of Spotify’s revenues from Premium subscribers and advertisers are paid out to music rights holders including artistes, labels, and distributors. Spotify generates revenue for rights holders, who in turn pay artistes and songwriters their streaming royalties based on their stream share.

“We do not publicly share how much royalties are paid in each of the 183 markets we are in, as every market is unique and is at different stages in the streaming journey. So you have places like the US, UK, Canada where streaming is ubiquitous, and in Africa where streaming is starting to gain more traction,” Phiona notes.

Amplifying African voices

Under her watch, a number of programmes  aimed at amplifying  African artistes have been rolled out with EQUAL Africa specifically curated to support female musicians.

The global music program was launched in March 2021 as part of Spotify’s commitment to advancing gender equity in music. The initiative aims to celebrate women pushing the envelope and inspiring the next generations of artistes, producers, and executives.

“Our EQUAL Africa programme and playlist spotlights female talent from the continent, and Kenyan rappers such as Muthoni Drummer Queen and Ssaru have benefited from it,” Phiona points out.

Fresh Finds Africa is another initiative developed under her leadership that also seeks to support both up-and-coming female and male African artistes.

“It spotlights up and coming artistes who aren’t signed to major labels. These programmes and playlists are crucial in helping music lovers across the globe discover sounds, perspectives, and voices they otherwise wouldn’t come across.

“We are also looking to do more Masterclasses as we know there is a need for artistes, to have forums where they are taught the ABCs of the music business, including songwriting, distribution, and monetisation. We had the first one in Lagos, Nigeria earlier in the year which was a success, and our next stop is Kenya,” Phiona shares.

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Lonely Mindset, A Brand-New Venture From Legendary Bosses, P…

(MENAFN– GetNews)
The Detroit-based business has been expanding in different business segments and still finding ways to give back to the community

Detroit, Michigan, USA – The Detroit-based, Legendary Bosses is the parent company encompassing Legendary Music and Visuals (LMV), which includes music, entertainment, and artist development. Carlton Williams, the CEO of Legendary Bosses, is a self-made success story in Detroit who has expanded his business into varied segments. The latest from Carlton is Lonely Mindset, a venture focusing more on giving back to the community and underpinning a strong message of creating and spreading positive energy in the community.

Carlton aims to collaborate with non-profit organizations working toward causes such as victims of gun violence, domestic violence, and child abuse and donate a percentage of proceeds generated through the Lonely Mindset merchandise.“Lonely Mindset is very close to my heart. I envision a world where love and positivity are not so rare to find, and that is what I want to create through Lonely Mindset,” said Carlton, one of the most successful entrepreneurs in Detroit.

LMV, a subsidiary of Legendary Bosses, was founded in 2017 and has played a pivotal role in giving young local talent a platform to exhibit their talent and get a chance to establish their careers in the music industry. The company released a collaborative album on November 18th, 2021, with over 220,000 streams and downloads and primarily showcased unsigned Detroit music artists.

The home studio provided by LMV has helped several artists work on their music and provided an opportunity to refine their craft. LMV has worked with artists, including William’s sons, who are artistically known as Kay. est and STF Chef, along with Rich lee, Big Quizzy, TFG Teezy and Ysco Dame.

Another exciting segment of Legendary Bosses is the headphones business which has gained significant traction from people as it is the only local brand in that segment. The inspiration for LMV headphones has been the early era of hip-hop.

“I have always had a passion for electronics, and as a huge hip-hop fan, I realized people needed something extra to enjoy this genre hence, the creation of LMV headphones,” Carlton added.“Most hip-hop, rap songs include heavy bass, which cannot be fully enjoyed through our standard headphones. LMV headphones are a result of extensive research and development,” he added.

Legendary Bosses has changed the outlook for small businesses in Detroit, Michigan and Carlton Williams has become an inspiration in the business world, striving ahead despite challenges. The company continued to expand even during Covid-19 and has strengthened its position further in the industry.

For more information, visit  .


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Streaming royalties are broken, Rashida Tlaib thinks Congress can fix them – TechCrunch

There’s never been an easy time to be a musician, but for many in and around the industry, the 21st century has presented one calamity after another for those hoping to make a living through music. The turn of the century saw record labels implode at a staggering rate, and it would be some time before some salvation arrived in the form of streaming services, which finally offered an effective method to monetize music listening.

Examined in the harsh light of day, however, a major question emerges: Who, precisely, do these services benefit? According to the Record Industry Association of America, streaming comprised 83% of all recorded music revenue in the U.S., as of 2020. Calculating the amount of revenue an artist makes per stream can be a complex task.

Different rights holders strike different deals, and you’ve got a lot of cooks vying for that money, including publishers, distributors and labels. The commonly accepted figure for Spotify is that somewhere between $0.003 and $0.005 is paid out to artists for every stream. The figure varies widely from service to service, though it’s generally fractions of a cent. Apple, notably, revealed last April that it pays around a penny per stream — a generous figure by streaming industry standards.

Revenue rates have, of course, been a common complaint among musicians for more than a decade, but like so many other labor issues, things have come to a head during the pandemic. Two-plus years of limited or no touring have brought concerns into sharp relief. In late-2020, the Union of Musicians and Allied Workers (UMAW) launched the Justice at Spotify campaign to raise awareness of the issue.

“With the entire live music ecosystem in jeopardy due to the coronavirus pandemic, music workers are more reliant on streaming income than ever,” the org noted at the time. “We are calling on Spotify to deliver increased royalty payments, transparency in their practices, and to stop fighting artists.”

The union would ultimately find a sympathetic ear in Congress in the form of Michigan Rep. Rashida Tlaib. Last week, reports surfaced that the congresswoman was putting together a resolution aimed at establishing a royalty program to provide musicians adequate compensation via royalties on per-stream basis. “It was a meeting with the Union of Musicians and Allied Workers,” Tlaib tells TechCrunch. “One of the things that continued to come up was what could Congress do in supporting their efforts to be protected and also for musicians to be fairly compensated for their work. To have respect in this field, especially from so many folks in the industry that continue to monopolize and so forth. They did an amazing job, came to us with this proposal and taught my team and I so much about the ins and outs of how it works right now.”

Tlaib says her team worked closely with the UMAW on penning a draft of the resolution. “We do the same thing with our housing bills, trying to address economic divide in our country. We let them lead us. I’m working for them, helping them and advocating on their behalf. They’re teaching me so much about the monopolization in the industry, and how Spotify specifically is acting in bad faith in many ways.”

Musician and UMAW member/organizer (and musician/newsletter writer) Damon Krukowski said in a statement to TechCrunch:

Currently, music streaming is building wealth for streaming platforms at the expense of musicians. UMAW is working to redress that imbalance. Rep Tlaib’s proposed legislation would guarantee a minimum payment from platforms direct to the musicians who play on streamed recordings. The infrastructure for such payments already exists, because they are already required of satellite radio. This same principle needs to be applied to streaming, for fairness and for the sustainability of recorded music.

Tlaib’s resolution would employ the nonprofit royalties group SoundExchange, as well as the Copyright Royalty Board, to calculate and distribute royalties. The two bodies already serve a similar function for webcasting and satellite radio. This would, effectively, operate under a complementary model, tailored to streaming.

With news of the resolution surfacing in late July, word has gotten out around the industry. Tlaib said she’d not yet spoken with Spotify directly, explaining, “I understand they’re aware.” She adds, “My priority is not the corporations. It probably never will be. They have their lawyers, they have their lobbyists, they have their resources to put out ads and gaslighting people to say all the things they say will happen when we continue to push this thing forward. My priority is that is doing everything right and is not being traded fairly in this market.”

TechCrunch reached out to Spotify for the story, but has yet to receive comment. CEO Daniel Ek made waves in the past for suggesting that the streaming model simple couldn’t — or wouldn’t — support musicians as record sales had done in the past. “Some artists that used to do well in the past may not do well in this future landscape,” he said in a July 2019 interview, “where you can’t record music once every three to four years and think that’s going to be enough.”

Tlaib’s resolution has begun to pick up steam among House colleagues. Most recently New York Rep. — and fellow Squad member — Jamaal Bowman has lent his support to the draft, which is still waiting review by the House Legislative Counsel.

Tlaib tells TechCrunch she believes such legislation could also gain bipartisan support in Congress.

“I think what happens is folks don’t realize that many of the people impacted by what’s happening are in all congressional districts. I don’t think you could go to any district that either isn’t impacted by it or doesn’t understand how incredibly unfair it is. I know that we’ll be able — especially with the work the Union of Musicians and Allied Workers is doing outside of Congress — to make this a viable piece of legislation.”

Tlaib’s own district — which includes Western Detroit — can certainly lay claim to that impact.

“Detroit is a global music capital in the world: Motown, techno, jazz, gospel. I wanted to honor that, and respect that incredible work, which played a huge role in movement work,” she said. “Music has been a huge part in my growing up in the social justice movement. It was a way to bring folks together in trying to understand not only the human pain, but the possibility of ‘better.’ When I think of these amazing musicians coming together like this, it’s incredibly inspiring. And why not? Why don’t they deserve Spotify and other major folks in the industry to pay them what they deserve?”

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New Orleans City Council moves forward with new outdoor music licensing

Porch concert in New Orleans, photo by Durado Brooks via Salon726.com

The New Orleans City Council voted unanimously to allow live outdoor music in perpetuity, a move that began in the early days of the pandemic when performing outside was safer for musicians and audiences. Live outdoor music, which has proven to be popular, has existed in a state of limbo since the COVID-19 crisis began to ease.

“We have been working for quite some time to figure out how to make this permanent,” said council member Helena Moreno. She explained that new guidelines will offer “predictability, not only for the venues and musicians, but for people living around those areas.”

The motion will form the basis of an ordinance proposal to be considered for a vote at a future City Council meeting. Opponents of outdoor performances have long complained that the city fails to enforce existing noise ordinances. Mayor Latoya Cantrell has promised to enlist more zoning inspectors to enforce such codes.

Under new rules, music venues under conditional licensing will be limited to three outdoor performances per seven-day period, and shows on Sundays through Thursdays must conclude by 9 p.m., on Fridays and Saturdays by 10 p.m.

The Music and Culture Coalition of New Orleans, which has advocated for outdoor performances, issued a statement following the council vote: “This is the culmination of an over three-year effort on our part, and we want to issue a profound thank you to everyone who participated in focus groups, attended meetings, sent in comments, and called or e-mailed their representatives. It truly made a difference.”

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How to buy and sell NFTs: The best places and prices

An NFT is a kind of crypto token that refers to a non-fungible token. A non-fungible asset is defined as an in-game item, musical composition, or piece of art that has its own unique value.

Non-fungible tokens have lately taken possession of the collectible and digital art industries. Buying and selling NFTs can be a bit daunting for newcomers, but with a little know-how, it can be quite easy. Non-fungible tokens (NFTs) are a form of blockchain network digital currency that is unique. The value of the item is determined by what someone is willing to pay for it. As a result, demand pushes up prices.

The auction of a nonfungible NFT art for $69 million Ethereum is the cause behind the recent rise in popularity of NFTs. NFTs are digital assets that are stored on a blockchain. The most popular form of an NFT is an ERC-721 token on the Ethereum blockchain.

The billionaire founder of Twitter, Jack Dorsey, has just created his first-ever tweet as an NFT and sold it for $2.9 million. There is no other NFT like this one; hence, it has uniqueness.

Also Read:

Where to begin

The metaverse has its version of a marketplace, where you can trade nonfungibles as we do with our eCommerce platforms in the real world. Several NFT marketplaces specialize in a particular area, such as artwork, tickets, music, and media. The metaverse is a world where you may discover, purchase, and sell NFTs that are perfect for both sellers and collectors.

What are NFTs? In a nutshell

Nonfungibles are “one-of-a-kind” cryptographic digital assets that represent real-world things and digital items such as art, music, virtual land, in-game collectibles, videos, photographs, and other creative items. They may be purchased and sold in the digital world like any other piece of property, with no physical representation. NFTs are one-of-a-kind, limited in quantity, and valuable due to their scarcity. They can’t be reproduced, and their verification is simple. NFTs may be viewed as proof of ownership for virtual or real assets recorded on the blockchain and proof of authenticity and certification of ownership for digital or physical items.

There are several potential applications for NFTs, including digital art, collectibles in gaming, music, fashion, sports, education, decentralized finance (DeFi), tokenization of real-world objects, domain name ownership, licenses and certifications,’ patents,’ documentation,’ and others. Furthermore, NFTs might be utilized to document data, improve event ticketing, and even real estate administration.

NFTs have the potential to change how creators sell their work online, and game developers are using play-to-earn economies in their settings. NFTs are also becoming popular among crypto organizations to reward loyal consumers and encourage certain behaviors.

With recent headlines dominating the crypto world, NFTs are rapidly becoming a famous use case in the broader cryptocurrency movement. Eye-popping sales figures from marketplace Opensea and celebrity endorsements like Jay Z have boosted their reputation.

NFTs enable artists and other content creators to profit from their work and sell it directly to the audience in the form of NFTs, with no limitations on intermediaries like galleries, auction houses, or major record labels.

Popular NFT marketplaces

There are numerous different online marketplaces where nonfungibles may be bought and sold. Not all of them work the same, offer the same features, or provide the same types of NFTs. However, most platforms are built on the Ethereum blockchain. Non-Ethereum NFT platforms include blockchains like Cosmos, Polkadot, and Binance Smart Chain, to name a few. Here are a few of the most popular:

1.OpenSea – There are numerous sorts of digital assets accessible on this platform, and the fact that it is free makes it even more appealing!

2. Axie Marketplace – This is a metaverse-based online store for video games. You may discover Axies, Land, and various other goods you can use in the game to make your own.

3. NBA Top Shot Marketplace -Users can buy, sell, and bid on digital highlights of NBA players, which is the same as keeping physical copies at home.

  1. Rarible -This site allows you to buy and sell a wide range of items, including art, movies, collectibles, and music.
  2. Nifty Gateway-This site has become well-known for its auctions of digital art from various world-renowned artists, such as Beeple.

7. Decentraland Marketplace-This is the online store for all things related to the digital world of Decentraland. You can buy, sell, or bid on the land and various other virtual assets.

8. The Sandbox Marketplace-This is the official store for all things related to The Sandbox game. Players can buy, sell, or bid on the land and various other virtual assets.

How to buy NFTs

Step 1: Get a wallet and fund it with cryptocurrency

To buy NFTs, you’ll need a digital wallet that can hold the specific cryptocurrency used on the platform you want to purchase. For example, if you want to buy an NFT on the Ethereum blockchain, you’ll need an Ethereum-compatible wallet. Some popular wallets include MetaMask, Gnosis Safe, and Argent.

Once you have a crypto wallet set up, you’ll need to add cryptocurrency to it. The most popular way to do this is by using a crypto exchange. Some popular exchanges include Coinbase, Binance, and Kraken.

If you don’t already have a wallet, visit metamask.io and download it as an add-on for your web browser. Connect it to OpenSea.To do so, go to OpenSea and select “My Profile.” nOpen a profile on OpenSea by going to the top right corner of the site and clicking on “profile.”After opening the page in your browser, you’ll be asked to log into your wallet. MetaMask, Coinbase Wallet, or other supported wallets are recommended choices.


To use your wallet, it must be granted access to your account and approve the signature request.

You can now explore the OpenSea marketplace for NFT collections. If you don’t have ETH, go to your MetaMask wallet and select “Buy” — you may also use a debit or credit card to make a crypto deposit immediately.

Alternatively, if you’d rather, you can create a Coinbase Wallet – it’s another popular choice that users choose and has the brand recognition of Coinbase.

The procedure is similar to MetaMask installation – you must go to the official Coinbase website and add the non-custodial wallet as a Chrome extension. Although it doesn’t matter which wallet you use to interact with OpenSea, the Coinbase wallet has certain advantages, such as converting fiat currencies into cryptocurrencies.

Step 2: Find an NFT marketplace

Once you have a digital wallet set up and funded with cryptocurrency, you’ll need to find an NFT marketplace where you can make your purchase. There are various NFT marketplaces, each with its selection of NFTs available for purchase. For our case, Opensea is a good choice as it is among the most popular NFT marketplace, and there are no fees for buying or selling on the site.

Step 3: Choose the NFT you want to buy

Now that you’ve found an NFT marketplace, it’s time to choose the NFT you want to purchase. With so many different NFTs available, this can be a difficult task. To narrow down the selection, you can use the filters on the marketplace website to find NFTs that fit your specific interests.

For example, if you’re interested in purchasing an NFT related to the video game “Minecraft,” you can use the filtering options on OpenSea to find NFTs related to the game.


Step 4: Make your purchase

Once you’ve found an NFT you want to purchase, it’s time to make your move. On the marketplace website where you’re making your purchase, locate the NFT you want to buy and click on it. This will take you to the listing page for the NFT, which will provide more information about the item.


At the top of the listing page, you’ll see the current price of the NFT as well as the option to buy it. Click on the “Buy” button, and you’ll be taken to a page where you can review your purchase. Next, OpenSea will bring up your MetaMask wallet. You may alter the gas fees by clicking Edit, but note that lowering gas costs will significantly slow down transaction speed. The best time to buy using MetaMask is when the Ethereum network is less congested.

Check out the Etherscan Ethereum Gas Tracker to see current gas prices. You may also look up recommended gas prices on ETHgasstation.

After you’re ready to buy, confirm your order using the button beside it. Wait until your purchase is completed.


Check that all the information is correct, then click on the “Confirm” button. This will initiate the purchase process, and once it’s complete, the NFT will be transferred to your digital wallet.


That’s it! You’ve now purchased your first NFT.


You can preview some of the details of your NFT.


And remember, if you want to buy an NFT but don’t have any cryptocurrency, you can always use a debit or credit card to make a crypto deposit immediately.

The Process of Selling NFTs

Two primary approaches to selling NFTs: 1. Minting an NFT (for content producers) and 2. Trading an existing collectible.

Minting an NFT

You can create NFTs and sell them on an NFT marketplace if you create digital content. This is a good option if you want to retain complete control over your work and the pricing of your digital artwork.

The process of minting an NFT is similar to creating an NFT. First, you’ll need to create the digital content you want to sell. This can be anything from a blog post, a piece of art, or a video game character.

The first option is generally regarded as the goal of the nonfungible creation (or minting) process. Minting refers to a simple procedure that follows after which representing innovative items such as artworks, collectibles, songs, memes, and so on becomes part of the blockchain, tamper-proof and secure. The content transforms into an NFT and becomes “tokenized.”Since the law’s passage, these digital items have been tradable and traded as NFTs, with the ability to keep track of them after re-sale.

Content producers only need a Mac or a PC, a cryptocurrency wallet that supports NFTs with some amount of crypto in it, and an account on a blockchain-focused NFT marketplace to begin minting. It’s as simple as clicking a “Create” button and uploading your file on some marketplaces, whether it’s an image, GIF, 3D model, or other items. Each platform may produce NFTs on its manner, so double-check the procedure.

You may adjust the NFT’s attributes, provide special discounts on services, and add extra meanings to the NFT. You can also charge your NFT and any royalties you want to earn if a buyer decides to resell it. You can subsequently sell it after you’ve completed it.

The minting process is completed when the creators sign their NFTs and pay the gas fees. The transaction is then considered valid once completed, allowing content makers to view their newly created NFT in their profile on the selected NFT platform.

Furthermore, NFT markets may demand content makers to provide a royalty percentage when selling NFTs.They get a set fee whenever a new collector purchases an NFT through them. Because of the fundamentals of the nonfungible technology, royalties may potentially

create automatic lifetime passive income sources for the NFT creators.

The option to select a selling approach or even set a price for the NFT while minting it is available in most NFT marketplaces. As a result, freshly created NFTs are commonly presumed to be put up for sale as soon as they are released.

Selling the NFTs

Now that you know how to purchase NFT, it’s time to learn how to sell one. It’s straightforward to sell an NFT: follow the instructions below.

Click the Sell button in the upper right corner of your screen to begin. You’ll be taken to a new page where you must provide essential information.

Type – You decide whether to sell it for a set price or in an auction,

Price – Set the amount of your wish.Duration -Finally, determine when the sale will conclude.

 OpenSea charges a 2.5% commission on each transaction, although the listing is free.

Screenshot 2022-03-15 at 2.56.00 PM.png

Now click on Complete Listing.

As you can see, the Modal appears as shown in the image below. What remains is to complete your transaction. This is also known as a gas fee transaction, which implies that your wallet is programmed to make money.

Screenshot 2022-03-15 at 3.00.02 PM.png

Clicking on Confirm will take you to a new page. After your wallet is set up, it will ask you to sign in after a while. It’ll notify you that listing your NFT is necessary.

Now Click the Sign tab, and your NFT will be listed.

Screenshot 2022-03-15 at 4.16.29 PM.png

Is it worth buying and selling NFTs?

The NFT craze is still relatively new, and it’s a great first glimpse at the potential that cryptocurrencies may have to improve the digital economy for more people. For creators, creating and selling digital assets might make sense. However, when it comes to investing in NFTs as a collectible, they are a speculative investment. The value of an item is uncertain and will fluctuate depending on the demand for the work itself. So it is advised you carry out your research if you’re looking to invest in NFTsFurthermore, keep in mind that there are a lot of scammers in this field, and costs can change rapidly.

It’s not uncommon to see people lose their money to fraudsters through phishing or rug pulls. Wash traders in the NFT space have also been known to fabricate phony trading volumes on specific groups to make them more appealing to investors.

What is the future of NFTs?

NFTs have a lot of potential, but their future is still uncertain. They might become a more mainstream way to purchase digital goods and services or be relegated to a niche market. It’s hard to say which direction they will go, but it’s clear that they have the potential to change the digital economy.

The most recent development in digital collectibles is that OutSad has launched a unique collection of NFTs designed to help metaverse explorers express their emotions. Recognizing the social cues limitations in virtual settings, OutSad consists of a collection of mood-altering characters that may accompany their owner across parallel universes.

Final Thoughts

Despite the volatility and underdeveloped nature of the overall cryptocurrency market, as well as the high level of uncertainty regarding nonfungible token valuations, NFTs’ resurgence continues to spread. It’s critical to understand your investment goals and verify that NFTs are suitable for your portfolio before you invest money.

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Major record labels reach last-minute settlement with US ISP Bright House in copyright lawsuit

A number of record labels, including Universal Music Group, Warner Music Group and Sony Music Entertainment have settled a copyright infringement lawsuit against US internet service provider Bright House Networks on the eve of a scheduled hearing in a Florida court.

In a brief court filing on Tuesday (August 2), Universal Music, on behalf of other Recording Industry Association of America (RIAA) members, said, “they have resolved” the case against Bright House, without disclosing the specifics of the settlement.

The filing came a day before the two parties were set to go to trial in the US District Court for the Middle District of Florida, Tampa division, following virtual hearings held on July 28 and July 29 via Zoom.

The settlement marks the end of a three-year litigation between Bright House and the record companies.

In 2019, the labels accused Bright House of allowing thousands of its subscribers to illegally download, copy, and distribute copyrighted music through BitTorrent and other online file-sharing services.

“Bright House has knowingly contributed to, and reaped substantial profits from, massive copyright infringement committed by thousands of its subscribers, causing great harm to plaintiffs, their recording artists and songwriters, and others whose livelihoods depend upon the lawful acquisition of music,” the recording companies said in their complaint dated March 22, 2019.

The plaintiffs included Universal Music, Capitol Records, Warner Music, Atlantic Records, P. Diddy-founded Bad Boy Records, Sony Music, EMI and several of their subsidiaries and affiliates.

“Bright House has knowingly contributed to, and reaped substantial profits from, massive copyright infringement committed by thousands of its subscribers, causing great harm to plaintiffs.”

RIAA MEMBERS (in a lawsuit from March 2019)

The lawsuit came about four years after Bright House was acquired by Charter Communications for $10.4 billion.

Bright House, which provides Internet and other digital media services, allegedly refused to take reasonable measures to stop customers from using its Internet to infringe on others’ copyrights including those owned by the plaintiffs.

“Rather than working with plaintiffs to curb this massive infringement, Bright House did nothing, choosing to prioritize its own profits over its legal obligations,” the complaint read. The record labels further stressed that the internet service provider failed to take actions against repeat infringers.

Over a year after the lawsuit was filed, Bright House filed a countersuit, accusing the plaintiffs of “false, deceptive, and misleading” claims and of violating the Digital Millennium Copyright Act (DMCA) by “knowingly sending materially inaccurate notices of alleged infringement.”

Three years after going back and forth with more arguments, the court dismissed the case on Tuesday following the settlement agreement, according to an order issued by US District Judge Mary Scriven.

Details of the settlement agreement, including financial terms, were not disclosed in any of the filings and neither of the two sides have issued official statements.

The lawsuit is just among the many copyright litigations filed by record companies in their attempt to crack down on piracy in the music industry.

Back in February, the RIAA was awarded $83 million in piracy damages from YouTube-rippers FLVTO.biz and 2conv.com after a federal court in Virginia ruled that the sites have indeed violated copyright laws by allowing users to rip music from YouTube, TorrentFreak reported.

It follows the RIAA’s successful bid to shut down YouTube-MP3.org (‘YouTube to MP3), another stream ripping site, in 2017.

Overseas, a court in Milan ordered CloudFlare, a US-based content delivery network firm, to block users’ access to three copyright-infringing BitTorrent sites.

The decision, handed down less than a month ago, was the result of a litigation taken by global recording industry body IFPI, which counts more than 8,000 members globally including Sony Music, Universal Music and Warner Music.

 Music Business Worldwide

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R. Kelly Has $27,828 in His Commissary Account. Feds Want It Seized.

  • R. Kelly hasn’t paid any of his court fees, but has $27,828.24 in his prison commissary. 
  • Prosecutors asked a judge to order the funds seized. 
  • Kelly is serving a 30 year sentence on sex trafficking and racketeering. 

R. Kelly has $27,828 in his prison commissary but hasn’t paid a cent toward his court fees and fines, according to federal court documents.

New York Federal federal prosecutors on Thursday asked a judge to order the Bureau of Prisons to seize the money from his inmate trust account and cut a check for that amount to the clerk of courts, according to court documents.

Kelly, whose real name is Robert Sylvester Kelly, is serving a 30-year prison sentence after being found guilty in September of racketeering and sex-trafficking charges that stemmed from a decadeslong practice of recruiting and grooming girls and young women for illegal sex.

A restitution hearing is scheduled for next month, at which time New York Federal Judge Ann Donnelly will decide how much Kelly will have to pay to the victims of his crimes.

Outside of restitution, Kelly owes over $140,000 in fees and fines. Donnelly issued a $100,000 fine based on the conviction plus a statutory $40,000 human trafficking penalty. 

Attorney Jennifer Bonjean, who represents the disgraced R&B star, argued that Kelly is “pretty close to indigent” as he didn’t have a regular source of income and some stations refuse to play his music. 

Prosecutors, though, alleged that Kelly had funneled millions of dollars from music royalties through a childhood friend right before his sex-trafficking conviction. 

Kelly is serving his sentence at Metropolitan Detention Center in Brooklyn where he has befriended the accused subway shooter Frank James and is reportedly singing behind bars.

Kelly is set to stand trial on additional federal charges of production of child pornography and sexual abuse of minors on August 15 in Chicago. He has pleaded not guilty to the charges.

The trial comes 14 years after he was previously acquitted of 14 child pornography charges in Illinois in 2008. 

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ONErpm Launches ONE Publishing – Billboard

In a course of three years, ONErpm has developed the technology to register, identify and manage compositions in compliance with international standards, launching its new division, ONE Publishing, Billboard can announce today (Aug. 5).

Allowing composers and publishers to manage their catalogs and collect publishing royalties in an easy and transparent way, ONE Publishing has partnered with Collective Management Organisation (CMO) and streaming platforms including BMI, ASCAP, SESAC, HFA, MLC, MusicReports; as well as with regional partners in Brazil (UBC), Mexico (SACM), Colombia (SAYCO), Latin America (LatinAuthor), and Europe (Unison).

Additionally, signing direct contracts with YouTube, Spotify, Apple, Deezer, Lyricfind, and MusixMatch.

“I am honored to develop this new publishing initiative,” said Diego Maldonado, head of ONE Publishing, in a statement. “We truly believe in creating better solutions for musicians and with this powerful product we are raising the bar and closing an important gap for songwriters and artists around the world.”

Maldonado, who was formerly country manager in Colombia for seven years and led the company to grow to a market share of over 10%, will continue reporting to ONErpm’s founder and CEO, Emmanuel Zunz, in his new role

Of the new initiative, Zunz added: “The launch of ONE Publishing marks a milestone for our company as we solidify our position as a leading independent and truly global music company. The service is in line with our mission to be a full-service, modern music company that works tirelessly to create more value for creators.”

ONE Publishing will be available across all of ONErpm’s territories in 33 cities and 29 countries, as well as ONErpm premium distributed artists and labels, and DIY accounts that meet certain criteria.

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Scarface Explains Why He’s ‘Disgusted’ With The Music Industry

Scarface Explains Why He’s ‘Disgusted’ With The Music Industry | HipHopDX


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