They’ll need a different frame of mind and new tools the question will no longer be “how do we sell this?” but “how do we grow an artist community?” Labels need to undergo a serious cultural shift to thrive in Web3. it’s the same thing labels have always done, the same way they’ve always monetized. Web3 marketplaces are simply a new distribution channel. Labels appear to be applying their legacy market-oriented model to Web3, doing deals with NFT marketplaces, for example. ![]() Web3 is about incentives translated into new tokenized business models, like listen-to-earn. They see it as a series of distribution channels that need to be monetized. They see the market in a way that’s challenging to harmonize with Web3. However, they have never been good at building community. It is a call for realism about what music companies and streaming platforms need to do to be strong partners in this emerging Web3 world, since they are unlikely to call the shots.ĭespite many decentralization maximalists’ dreams of a direct artist-to-fan connection ending the need for all intermediaries, labels will still exist and have important roles to play. Music companies have a lot to learn to reach the same level of expertise and engagement perfectly tuned to thrive in Web3. They know how to sell in-game digital collectibles and virtual goods and fire up virtual economies. Game companies also know how to create digital characters and avatars that gain cultural resonance with these communities. ![]() Game companies already know how to do community for many of the most popular games, gameplay is secondary for players, who join to meet friends and talk to others. (AI generated music is already in development for gameplay.) “Active” is a big part of interactive, and active communities are more important than scale in web3. “The message which should be sent in cases of sexual harassment is ‘zero tolerance’, and this can only be done with swift and just action,” the MNPN said.This smattering of recent examples shows how far game companies have already gone toward the immersive, interactive, virtual world where music will be a part-an important part, but just a part - of the experience. Bonnici said he was only “correcting inaccurate information in an article”. Zahra even claied Bonnici had influenced media coverage of the sexual misconduct case when he called a NET TV reporter on Sunday afternoon. In parliament on Tuesday, Zahra pressed the point that the minister should have acted more forcefully after the victim contacted him, rather than “just directing her to the gender-based violence commissioner.” Nationalist MP Julie Zahra said Bonnici must shoulder political responsibility and resign for his failure to protect the victim. On Monday, on TVM’s Xtra, Bonnici admitted taking no immediate steps to temporarily suspend the national orchestra’s top brass when he became aware of sexual harassment claims last September. ![]() “By his own admission, Owen Bonnici not only did not take any action and did not report the sexual harassment to the police as was his obligation, but allowed the time for other people to be influenced in staying silent in front of the abuse,” the MNPN said. The Nationalist Party’s women’s section (MNPN) has deplored what it said was a lack of action by culture minister Owen Bonnici over sexual harassment allegations inside the Malta Philharmonic Orcehstra.
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