IP, Content, and Catalogs In The NFT Era

I’m a child of the music business. My dad was in a southern Gospel group that toured all over the southeast, was on TV all the time, and he had his own radio show (sounds a lot like me).

My Godfather (ie. best friend’s dad) had 18 Top 10’s and 8 #1 songs in country music – sold millions of records for himself, and on others he’s written songs for. I myself have written songs with Grammy winners, Dove Award winners, numerous #1 songwriters, and a couple of guys in the Songwriter Hall of Fame.

Saying all that, my attention now days is on my work with NFT’s and PFP’s.

Back in the day you would buy an Album (LP) to listen to at your home.

8-track tapes came around, so you would buy the LP as an 8-track to listen to in your car.

Before long cassette tapes came along and you bought the same album to listen to at both home and in your car.

Then CD’s were introduced and you bought the same album again to listen to in your home and your car, because it had better quality.

Then streaming came along and you bought the same album for the 5th time to listen to on every device you owned, no matter where you are.

Yes, for anyone keeping count, a person could purchase the Eagles “Greatest Hits”, or Michael Jackson’s ‘Thriller’ 5 times just to get to where we are now.

But now there are NFT’s. What do they bring?

With NFT’s you can listen at home, or in your car. You can listen on any and all devices. You can get crystal clear sound. AND you can offer “MORE”.

What does ‘more” look like?

Let’s start with un-lockable content:

  • A signed photo
  • A secret concert
  • A special T-shirt no one else owns
  • A one on one call
  • A video call
  • Special backstage meet and greet
  • Dinner at the house with the band

You get the idea. What you get is YOU NAME IT.

Content companies with significant IP (ie. Catalogs) need to be thinking about NFT’s the same way they thought about the 8-track, the cassette, the CD, and streaming.

And right now, NFT’s are in the “Album” stage. We’re so new. So early that artists are releasing NFT’s of their “newest” album – they aren’t even considering their past catalog!

I grew up with Johnny Cash, and Harold Jenkins (that’s Conway Twitty for those who don’t know). I’ve known, met, seen, heard, discovered and been in 1,000 studios – sometimes with artists you might know (not bragging, just life). There’s a lot of “there” there.

Convincing record labels – music publishers – management – and artists, is an uphill climb. But there is no stopping this NFT “thing”. NFT’s are here. They’re not the ‘new’ streaming – they are the LP, 8-track, Cassette, CD, and Streaming – all rolled into one! PLUS the added benefit that you can offer “more”, and it all be verified on the blockchain.

And this doesn’t just apply to music, but all aspects of cataloged entertainment. I’ve stated I would definitely try and buy a few of my favorite clips from Seinfeld (I state clearly that PFP Daily Comics and Doc’s World are essentially the ‘Seinfeld of the NFT world’). “These NFT’s are making me thirsty!”

Who wouldn’t want to “own” clips from, let’s say, Game of Thrones, Dexter, The Godfather, or The Sopranos?

Who wouldn’t want Mike Tysons first knock-out, or his last?

Who wouldn’t want to own pages from a Roald Dhal book (Charlie and the Chocolate Factory for instance) – or Harry Potter, or ___?

I would love to own panels from Peanuts! I’d buy every one I could afford.

Again, if you’re sitting on a catalog of entertainment IP, you’re sitting on a gold mine – but here’s what I don’t get … WHY are you just sitting on it?

If you need help, I’m here to help (for a sizeable fee or small percentage of course).

NFTCreativeGroup at gmail dot com.

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