So why not apply this to music? After all, the ownership data on Ethereum is what’s important. NFTs are provably scarce digital items, whether that be digital collectibles, tickets to an event, in-game items, or the digital art from Beeple that is now selling $6.6 million.

Four Ethereum developers in 2018 authored the ERC-721 token standard, more commonly called Non-fungible Tokens, or NFTs. If you can bear the crypto jargon for a moment, the concept that led us here is important to explain briefly. Jacques Green “Promise” on Foundation.App A six second AV loop bid upon for 24 hours brought in almost half the royalties of a song that people around the world may have played as they walk to work, cook dinner, party with friends, on a first date - over the course of a decade. Last week, he sold a mesmerizing audio loop and GIF of a stippled figure called “Promise” for 13ETH ($16,037.32 USD). “Another Girl,” his track from 2011 has 7 million plays on Spotify, netting him about $27,904 in royalties from the platform. Take the electronic musician Jacques Greene, for example. The crypto movement is challenging this notion - that something as ephemeral or as easily portable as a file can also be owned, and that this ownership is valuable.

These bytes are reproducible and borderless, flowing alongside the information we consume in our hands. Technology made it possible to compress the infinite miracle of sound waves into bytes. So where do we go from here? It begins with how you own things on the internet. As Mat Dryhurst said, Bandcamp feels more like a bandaid. Streaming platforms irrevocably changed the way music gets discovered, shared, and importantly for the artists themselves, how they’re compensated. Yet it is not hard to meet an artist today who has a bleak view on the future of music streaming technology. People will always make music, as we have since before there’s been language. When we clear the woods, I have no doubt that some venues will be back, some won’t be so lucky.

Music was a comfort in an otherwise difficult year it’s a cruel irony that artists have captured so little of the value they create. During the pandemic it’s been Bandcamp Fridays, NFTs, and monthly donations through Patreon to support the venues and communities that are the soul of New York City - that comprise my own soul.

Pre-pandemic this included live music, some vinyls on the side, not to mention subscriptions to the streaming platforms.

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