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      "body": "A list of the artists and tracks we dug this month.\n\nCheck out the music the Paperchain team were going through in October. [Follow us on Spotify](https://play.spotify.com/user/paperchain.io) and listen to the tracks below.\n\n*Burn*, **The Soft Moon**\n\n*Ripped*, **Sextile**\n\n*Sudden Ambition*, **Lust for Youth**\n\n*Roses*, **Blouse**\n\n*Strange Fruit*, **Billie Holiday**\n\n*Unseen Forces*, **Justin Walter**\n\n*The Mother*, **Brandi Carlile**\n\n*Unfolding*, **Rival Consoles**\n\n*Moon River*, **Frank Ocean**\n\n*Magnificent (She Says)*, **Elbow**\n\n*I Follow Rivers*, **Lykke Li**\n\n*All the Stars*, **Kendrick Lamar, SZA**\n\n*Down*, **Emily King**\n\nhttps://open.spotify.com/user/paperchain.io/playlist/7lxU2EEio8jn5kF0MMzbbh",
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      "body": "The music industry’s shift from physical to digital revenue—and big data—has compounded inefficiencies in licensing, rights owner identification, and royalty distribution.\n\nA proxy example of this is the [“author unknown” filings to the US Copyright Office](http://blog.paperchain.io/post/2017/10/21/paperchains-rahul-rumalla-presents-at-the-rightstech-summit-nyc/) using the Notice of Intention (NOI) compulsory license under Section 115 of the United States Copyright Act. If these filings are to be taken at face value, there are over 60 million instances where digital service providers are unable to identify the copyright owners of the works in question.\n\nThis is not the case for every single filing—as always it’s more complicated—but there are a significant number of works whose owners cannot be identified.\n\nPerforming Rights Organizations and Collective Management Organizations (effectively the same role, different dressing) also struggle to effectively [match rights owners to compositions](http://blog.paperchain.io/post/2017/05/02/how-music-industry-silos-are-leading-to-unpaid-royalties/).\n\nThis means royalties go unpaid and are generally held in “black boxes”.\n\nIt’s common practice for these black boxes to eventually be distributed based on publisher or label market share. Naturally independents receive the lowest proportion, if anything.\n\nIn the case of the proposed [Music Modernization Act](https://lieu.house.gov/sites/lieu.house.gov/files/Overview%20of%20the%20Music%20Modernization%20Act.pdf), this would remove the NOI black box, not building a mechanism for the copyright owners to be accurately matched, but by doing away with the license all together. DSPs will instead operate under a blanket license for every historical and future composition and pay into a new Mechanical Licensing Collective.\n\nThere’s something very nefarious about the current Music Modernisation Act and its default model of market share distribution.\n\nIt’s not just independents, but independents in genres that are traditionally represented by non-white artists that will miss out on these distributions. This is due to the sometimes complex royalty splits to access to services and information that would educate these artists on how royalties and copyright works.\n\nIn its current form, the Music Modernization Act reinforces the [structural racism](http://www.intergroupresources.com/rc/Definitions%20of%20Racism.pdf) that pervades much of US legislature.\n\nI do not think this is a conscious decision on the part of those who have architected the legislation. It is simply an example where laziness and financial interest can become complicit in building and perpetuating institutional racism.\n\n***\n\nOriginally published [here](http://writing.daniel-dewar.com/post/quick-word-on-music-modernization-act/).",
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      "body": "The core seed idea of [Paperchain](https://paperchain.io) came into conscious thought around May/June 2016. I wrote my first public words on it in July 2016. Rahul joined as co-founder in December 2016.\n\nAt the time I was still working full-time. The response to Paperchain was enough to push me to leave my full-time job.\n\nIn January 2017 I arranged with my employer for a 6-month phase out: 3 months at 4 days a week, 3 months at 3 days a week. I didn't last the full six months. After three months I was ready to go all in.\nPremature in retrospect but it felt like the right decision then.\n\nI feel like we limped home at the end of 2017.\n\nThe more we learned about our market (no small feat considering the information is obfuscated and you need to dig and put the pieces together) the more we realized the market opportunity wasn't what we thought it was. It was always going to be limited and recent legislative agendas removes it entirely.\n\nWhile these are no doubt threats to the business, I've never seen them that way. They've been opportunities to learn more about the underlying music industry challenges and refine our approaching to solving them.\n\nSo I'm disappointed we don't have the product maturity that I'd wanted but I can see now that we are adapting to market forces well and should be encouraged by that. We're showing ourselves to be resilient and responsive.\n\nAnd I can look back now and see what an incredible learning opportunity 2017 was. From March 2017 I was a \"full-time\" founder (I still had and still do take on freelance and contract work to supplement income, until funding is Paperchain's financial future is secured). Some insights for me:\n\n### Obama was right, you didn't build it\n\nLately I've been thinking about how utterly ridiculous the idea of the lone genius is, most recently in the great-nephew of Australia's 2nd richest person who made the proclamation that he made it on his own, [never taking a cent from his family](http://www.smh.com.au/technology/smartphone-apps/my-parents-haven-t-given-me-a-single-cent-grandson-of-australia-s-second-richest-person-out-to-prove-himself-20171217-p4yxsl.html) (he apparently doesn't consider excellent family business connections, great schooling, or a stable family any help to his success).\n\nBarack Obama was ridiculed for suggesting that rather than building business on their own, a person's success was the work of their community. I'm not sure how anybody who has started a business could think otherwise.\n\nI've had plenty of opportunities to think about those who've helped—not just financially, but emotionally. My wife, family, friends who gave unconditional support, school teachers who inspired learning, peers who challenged, sports coaches who challenged for greatness. The journey of being a founder started when I was born and I wouldn't be here without any of them.\n\nThese are the people I think about when I make the decision to continue.\n\n### Business is politics\n\nEarlier this year I published a list of book recommendations for founders, and I still stand by those recommendations. These were works of fiction, books on race and politics. Particularly as technology founders, we are dealing with humanity, not technology.\n\nI'm struggling to revere founders like Elon Musk, Jeff Bezos, Mark Zuckerberg because to do so ignores the anti-human and anti-labor practices of their businesses. If anything, it's a reminder of the dangers in deifying people. People are fallible. Expect it. Great ideas should not be abandoned because of fallible people. Find other people to carry on the work. Poor judgement and decision-making should be called out. Real-world consequences (firings, loss of revenue) should exist.\n\nIt's impossible not to see the link between deification, \"genius\" founder worship and what Uber is now. So it is with successful businesses, it is also with toxic businesses. Travis Kalanick was not alone in building Uber.\n\n### Inspiration is everywhere\n\nI've met so many wonderful people this year, other founders and people who have expressed interest in joining Paperchain. I can't wait to have the opportunity to invite people on board this adventure and see what they do with the company. It's becoming clearer what my role as founder and CEO of the company should be, and I know I want to be in a position to encourage people to being their ideas, their personality and their history to the company.\n\nI still get inspired by art. I've picked up my book-reading and movie watching. *Stamped from the Beginning: The Definite History of Racist Ideas in America* (Ibram X. Kendi) is essential reading. Some of the more exceptional films from this year were \"GOOD TIME\", \"A QUIET PASSION, \"GIRLS TRIP\", and \"A GHOST STORY\". I saw very little new cinema this year.\n\nI was very lucky to be able to return to Australia for the holiday season. \nIt's been grounding and re-energizing.\nI am very lucky to once again call New York City home.\nI'm eager to rejoin the city and start 2018 with focus and humility.",
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      "body": "A few weeks ago I had the privilege of attending the latest lecture from The Polis Project's [Dissent In Dangerous Times Series](http://thepolisproject.com/archives/category/dissent-in-dangerous-times).\n\nThe program is run by the inspiring [Suchitra Vijayan](https://twitter.com/suchitrav) and I encourage anybody in NYC to attend the lectures.\n\nThe speaker on this night was [Stephen Thrasher](https://twitter.com/thrasherxy), a Senior Columnist at The Guardian and research in American Studies at NYU. An embed of the recorded lecture is at the bottom of this page.\n\nThrasher spoke about his experience of becoming comfortable his body—a black, overweight, gay body–by salsa dancing naked at Burning Man. Thrasher is a wonderfully warm storyteller and gave a moving account of finding power in the simple act of body acceptance at a time when there is a war on for your mind and your body.\n\nThe wider themes of his talk spoke to how bodies get shamed and policed, particularly for women, People of Color, gay, trans and queer people.\n\nAs a white cis-heterosexual, all I can do is listen and be educated on these experiences, particularly as I am on the journey of building a company. It is something I am very conscious about.\n\nI've founded a company at the intersection of two very white, straight and male industries—music and technology. The power in these industries rests in the hands of white men, and women, people of color and LGBTQIA  communities are marginalized and assaulted.\n\nWhile a young company, one of the surprising responses we've had is a large volume of people proactively reaching out looking for work. These are engineers, copyright services, lawyers, admin, marketers, etc.—experienced people working at many of the major stakeholders in the industry. This has been very encouraging.\n\nIf we had the funding to hire all of them, we would have a company that is 94% white and male.\n\nDiversity is something my co-founder Rahul, who is Indian-American, and I have spoken about many times. There's plenty of research that supports the benefits of a diverse workforce:\n\n* [Why Diverse Teams Are Smarter](https://hbr.org/2016/11/why-diverse-teams-are-smarter)\n* [How Diversity Can Drive Innovation](https://hbr.org/2013/12/how-diversity-can-drive-innovation)\n\nFor Rahul and I, it is as much about growing a smarter company as it is in ensuring our own company is in a position to directly attack historical power structures in these industries.\n\nOne of the first things I thought about after the lecture was wondering why there was such a high ratio of white males reaching out compared to other demographics, and what we can do to present the company (language, imagery, action) that is less threatening to people of color, women and LGBTQIA communities.\n\nAnd there is another proactive element to this—we need to be more diligent in seeking out minority spaces and approach those communities.\n\nAn additional component to reconcile is that we are simply inducing these bodies into a capitalist system that has purposefully disenfranchized and discriminated against these communities. We are asking that these bodies become labor of the system that has exploited them.\n\nI suppose the response to that is we would be giving these bodies a seat at a table that had not been available previously, and ultimately putting them into decision-making positions for the company and into the wider industry.\n\nThe NFL implements the [Rooney Rule](https://qz.com/959608/the-legacy-of-the-man-behind-footballs-rooney-rule-requiring-interviewing-minority-candidates-lives-on-in-silicon-valley/), which requires that a minority candidate must be interviewed for a position that is hiring. There are no quotas attached, but it was an attempt to address an imbalance where 70% of the workforce was African-American, yet that same demographic only made up 6% of the coaching and senior administrative staff. (Of course, the inherent racism in which the NFL and college football operates is another matter.)\n\nAfter our raise and we are in a position to hire, there will come a time for us to codify our hiring goals and processes.\n\nIt's something that's active in my mind.\n\nIf you are a female, person of color, or member of the LGBTQIA and would like to work at a music technology company, please email me at dan [@] paperchain.io.\n\nIf you're in New York City, I'd be happy to meet for a coffee or tea and chat in person about your plans.\n\nAlso please check out the video of Stephen Thrasher's lecture below and support Suchitra Vijayan and the The Polis Project. The video includes Q&A, including my question on black queer bodies and MOONLIGHT—a film I still struggle to talk about without getting a lump in my throat.\n\n<div class=\"videoWrapper\">\n<iframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/Xrgp9R2fzOQ\" frameborder=\"0\" allowfullscreen></iframe>\n</div>",
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      "title": "The perfect description of blockchain technology — why it’s becoming more simple",
      "body": "> “Blockchain is a technology that allows natively digital transfer of value.”\n\nThat line was buried in a [Medium post](https://blog.gridplus.io/blockchains-aol-moment-9ad91385b5b7) by Karl Kreder, cofounder of [Gridplus.io](https://gridplus.io/).\n\nThe more I read it the more I think it’s the best concise description of blockchain technology. The branding problem blockchain has always had is how to describe it in 25 words or less.\n\nNot that being able to describe in such a limitation proves any value of what is being described, however it sure makes it easier to explain at networking events where you may need to offer a description over and over.\n\nUntil I read this I had struggled to define blockchain technology concisely. It was many things. Many things that felt important to explain.\n\n“It’s a decentralized ledger technology that allows transactions between non-trusting parties without a central arbiter.”\n\nThat was the closest I got although there was always a “but it does this…” added to the end. Which usually required another “but…” added on to explain another piece.\n\nThe problem isn’t the technology but our relationship to it, especially for those of us developing and building in the blockchain ecosystem. Proof of stake matters. Timestamping matters. Mining and immutability all matter.\n\nThey matter when you need to think about how applications can function and they matter when developing economic models to incentivise users. They don’t matter outside of that development mindset.\n\nWhat I love about Kreder’s line is that it’s deceptively simple; the term “natively digital” is purposefully loaded while still being comprehensible. Unpacking that term gets deep very quickly, but for most people, the concept of “natively digital” can be grasped.\n\nNatively digital isn’t just about the technology’s functions but its governing philosophy. A technology born in the digital era that’s known no other model of operation.\n\nTo me that shows why it’s perfectly aligned to developers working today and business models being developed today. Natively digital technology for natively digital beings.\n\nI’m old enough to be envious of people growing up in a natively digital environment. And I expect that it won’t be long before next generations won’t be asking what blockchain is. It will be as understood as why a digital device can access 50,000 songs and connect you with others on the other side of the planet.\n\n“Blockchain is a technology that allows natively digital transfer of value” is a perfect description for the technology and for our time.\n\n***\n\nOriginally published at [writing.daniel-dewar.com](http://writing.daniel-dewar.com/post/a-perfect-description-of-blockchain-technology/) on August 4, 2017.",
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      "title": "Designing crypto tokens in light of the SEC announcement",
      "body": "Earlier this week the Securities and Exchange Commission handed down its [ruling](https://www.sec.gov/news/press-release/2017-131) on crypto tokens as potential securities.\n\nThe investigation was prompted after the DAO “hack” that saw $55 million redirected by a rogue party in the DAO network.\n\nIn the specific instance of the DAO, the SEC found that the tokens were offered as securities, and therefore fell under regular securities laws. Applied to other tokens or ICOs, this would mean that coin offerings would be subject to SEC regulation. Depending on your philosophy this could be good or bad for cryptocurrencies.\n\nICOs have certainly benefited from no regulatory oversight and there would be many in the crypto space would argue that is a feature, not a bug.\n\nMuch of the coverage on the SEC ruling has suggested this would be the end of the ICO-mania. Certain kinds perhaps.\n\nIn actuality, the SEC ruling was specific to the DAO instance, however they did offer guidance for other tokens, and suggest that it is more on how the tokens are designed and offered that will determine whether they are a security or not.\n\nThis Report reiterates these fundamental principles of the U.S. federal securities laws and describes their applicability to a new paradigm—virtual organizations or capital raising entities that use distributed ledger or blockchain technology to facilitate capital raising and/or investment and the related offer and sale of securities. The automation of certain functions through this technology, “smart contracts,” or computer code, does not remove conduct from the purview of the U.S. federal securities laws.\n\n**When does a token pass the Howey Test?**\n\nThe Howey Test was created by the Supreme Court to determine whether certain transactions qualify as investment contracts, or security offerings. If under the Howey Test a transaction is determined to be a security, then the investment is subject to certain disclosure and registration requirements.\n\nThe Howey Test came about from a ruling on a property lease initiative, where a Florida citrus farm decided to lease half of its property to finance an additional development. The way the Howery Co. structured the lease agreements, who were enticed by expectation of substantial profits, so that the Howey Co. would provide the work (farming) while the investors would provide the capital. Therefore the investors became the nominal landowners, in doing so becoming speculators where the land was the vehicle for investment.\n\nIn their ruling, the Supreme Court concluded:\n\n> “The transactions in this case clearly involve investment contracts, as so defined. The respondent companies are offering something more than fee simple interests in land, something different from a farm or orchard coupled with management services. They are offering an opportunity to contribute money and to share in the profits of a large citrus fruit enterprise managed and partly owned by respondents…Thus, all the elements of a profit-seeking business venture are present here.”\n\nAnd:\n\n> “It is immaterial whether the enterprise is speculative or nonspeculative, or whether there is a sale of property with or without intrinsic value. What matters is whether the scheme involves an investment of money in a common enterprise with profits to come solely from the efforts of others.”\n\nDapps have the potential to act like investment contracts—and there’s certainly no shortage of speculators who go into ICOs with profits as the sole motivation.\n\nCoinbase published a [whitepaper](https://www.coinbase.com/legal/securities-law-framework.pdf) posing how tokens can—and must—be designed with the Howey Test in mind and they offer an open-source framework for this.\n\nIf designed correctly, tokens should be deemed as a simple contract, equivalent to a franchise agreement. Therefore \"token holders are granted rights to contribute to a larger system, rather than through a passive investment interest.”\n\nThe SEC ruling may slow down growth, but perhaps this is a needed correction. Anybody familiar with ICO markets have seen plenty of Ponzi-scheme tokens offered on the market. It’s a timely reminder that like it or not, federal regulation are monitoring this space, so act accordingly.\n\n***\n\nOriginally published at [writing.daniel-dewar.com](http://writing.daniel-dewar.com/post/designing-crypto-tokens-in-light-of-sec-announcement/) on July 26, 2017.",
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      "title": "Founder Paralysis: An irrational (or rational) fear",
      "body": "Two days before I was due to fly to Liége to take part in the Wallifornia MusicTech Acceleration & Invest program, I was paralysed by an irrational—or rational—fear.\n\nI was unable to get out of bed. For an extended time there was not enough energy or will to get up.\n\nThe night before I suffered through two terrible dreams.\n\nThe first was quite long but repetitive. I was meeting many people for the first time, and each time, they picked at me for not sharing more about myself. They were bored and frustrated that I refused to share details of my inner life and thoughts with them. They hated that I was private and introverted. I soon became surrounded by people, all verbally assaulting me, telling me my lowly worth.\n\nThe next dream was shorter. I was due to interview Colin Farrell via a phone call (Maggie Smith was also on the line for some reason). It became one of those instances where everything possible went wrong. My phone had no reception. It took a long time for a computer to connect to WiFi. GoToMeeting took a long time to load and ultimately failed to connect. I coordinated with Farrell via email to move the call to Skype.\n\nBy the time we finally connected I was 20 minutes late starting the interview. At one point I dozed off while he was answering and when I woke up he had hung up.\n\nEverything about this opportunity went wrong. I knew how important this interview was, and yet there was seemingly nothing I could to stop this avalanche of small failures.\n\nWhen I woke in the morning I was unable to get out of bed.\n\nI began to rationalise that if I didn't get out of bed, then I couldn't fail. And if I didn't fail I couldn't be ridiculed, therefore, it felt safer to remain in bed.\n\nI forced myself out of bed around noon as I was due to meet friends for a farewell lunch.\n\nThe feeling never left me. I even felt like I failed to resolve my response to the dream as I was still unable to give into the feelings that drove the paralysis.\n\nBut I did get up. I did fly half way around the world and spent the week in Liége and pitched Paperchain to investors and industry experts.\n\nI'm typing this at Barcelona Airport on my way to Lisbon for a 3 week accelerator program before going to London for a month.\n\nI don't think I overcame the fear or the paralysis. I may never overcome it. But I did what I did.\n\nWhat I did do was share this experience with others—something I may not have previously done. What I experienced was a common experience for many. Founders, artists, friends, my partner.\n\nI may not have been unable to resolve the fear, but I now feel better about revealing my interiority to others.\n\nIt's only the first step. Maybe that's the lesson.\n\n***\n\nOriginally published at [writing.daniel-dewar.com](https://medium.com/@danieldewar/founder-paralysis-an-irrational-or-rational-fear-9ab8e3ae75c1) on July 8, 2017.",
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      "title": "A Recommended Reading List for Founders from a First-Time Founder",
      "body": "The list below are titles that have been invaluable to my growth as a founder. They are mostly fictional.\n\nThey are not books that will teach you sales frameworks, iteration methodology or operational structures.\n\nThese are books that have shaped the foundation of my understanding of the world, which becomes the core of how I value my business and my involvement in it.\n\nThey are works that evoke the soul of the world and its peoples. They are a revelation of humanity—which is something few non-fiction or business books offer.\n\nAs founders, particularly as founders professing to tap into the pulse of cultural change, the only way to get an idea of the vast mechanics at work is to read their stories. Learn about the experiences that are alien to us.\n\nThere have been many examples of the startup world's cultural insensitivities—its craven use of unpaid internships (that favours people of means and excludes those that are poorer), anti-human algorithms (a \"hot\" photo filter that lightens the skin of People of Colour), anti-labor philosophies (the business model of the 'sharing' economy is contingent on removing worker rights and minimum standards of labor), etc.\n\nI believe that many of the examples listed above occur because the lens of the founders are flawed and devoid of a human culture.\n\nThis list is about learning from the broad backs of those around and beyond us.\n\n**\"A Brief History of Seven Killings\"**, Marlon James.\n\nMarlon James writes with blistering syntax and punctures his prose with rhythm and virtue. Virtue to the point of being a classical writer although his language—a vast mix of Afro-Caribbean dialects and English—and his pacing suggests a writer beyond and ahead of his time.\n\nA well-researched, semi-fictional account of the attempted murder of Bob Marley, \"Seven Killings\" describes the intersection of political empowerment for the historically disenfranchised and gives a voice—or several voices—to a revolution of speech and thought.\n\nIt is impossible to shake this work or his others. He is unique in his humanism and surrealism. A practical guide for founders looking to further understand the urgency that runs through cultural change.\n\n**\"The Witches\"**, Stacey Schiff.\n\nThe hysteria that swallowed Massachusetts in the late 1600s has been well-played out in popular culture, although rarely has it been this well-researched. Schiff trawled through every diary entry, sermon and legal documents at the time to explore the roots of how witchcraft came to Massachusetts and the hysterical witch hunts that followed.\n\nShattering the political myth created by Arthur Miller's revision, Schiff reveals a society plagued by fundamentalism and spiritually handicapped. To the Puritans, it was impossible to deny witchcraft as by doing so they would be denying the reality of their religion as well.\n\nThe motivations that drove the wild accusations of witchcraft are varied—children acting out, families settling old scores, men and women covering for their own adultery, and class warfare.\n\nSchiff's work is a testament to the limits of irrationality and is a powerful meditation on the fundamentalism that is at the heart of the American founding story—a fundamentalism that continues to run through the country.\n\n**\"Between the World and Me\"**, Ta-Nehisi Coates.\n\nCoates' novel—a letter to his son on the black experience—is a brave work of self and social criticism. It's a work the bears reading and introspection, and then reading and further introspection.\n\nHow complicit does white America see themselves in the stain of injustice that hangs over Black Americans?\n\nCoates imprints an untold American reality. As founders, and importantly as humans, this is a reality that cannot be ignored and must not be exploited.\n\n**\"The Tall Man\"**, Chloe Hooper.\n\nChloe Hooper covers the events leading up to custody death of Mulrunji Cameron Doomadgee on Palm Island, and the subsequent Palm Island riots.\n\nHooper details the lived-in racist experience for Indigenous Australians, and shines a light on Australia's inherently racist just system. Doomadgee's death remains unjustified and his murderer continues to work in the Queensland Police Force.\n\n**\"Beauty Is A Wound\"**, Eka Kurniawan.\n\nBeauty is so-named because of her abject hideousness—her appearance makes anybody who sees her physically ill. But this isn't really about Beauty but how her name came to be. It's about her mother, who was once considered the most beautiful woman in Java. And it's also about Beauty's grandmother, who was the most beautiful prostitute in Java. The story weaves between these women and the men that haunt them.\n\nKurniawan explores post-war Indonesia and the Suharto purges by reconstructing Indonesia's folklore and in doing so preaches the restorative power of storytelling.\n\nLike Marlon James, Kurniawan gets to the soul of a country by attacking and reimagining its worst impulses as mythology.\n\n**\"A Lesson Before Dying\"**, Ernest J. Gaines.\n\nA young black man is told he has been sentenced to death. In an attempt to appeal for a lighter sentence, his defense attorney argues that he is as dumb as a hog and knows no better.\n\nWaiting on death row, his mother's only wish is for him to enter the chair as a man, not a hog. How do you convince someone that they are a man? They are human?\n\nGaines' novel is an exploration of America's continued genocidal impulses. A profound chronicle of the lived-in black experience.\n\n**\"Silence\"**, Shūsaku Endō\n\nRecently made into a film by Martin Scorcese (also excellent), \"Silence\" is a deeply moving meditation on the nature of belief and spirituality. When Christianity is outlawed in Shogun Japan, two Jesuit missionaries secretly enter the country to find a Father said to have committed apostasy.\n\nConflict exists all around them—how do they teach the true faith to those that follow their own version? If they are God's most loyal servants, why does he refuse to speak to them? How can God be silent when so much pain is inflicted against his cause?\n\nEndō reveals a spiritual understanding I was not prepared to admire so much—in that God cannot exist without the Christ figure AND the Judas figure.\n\nAs a non-theist, it was the best work I've read that goes some way to see a beauty in faith.\n\n**\"Blood Meridian: Or the Evening Redness in the West\"**, Cormac McCarthy\n\nWhenever McCarthy writes he will generally end a genre. He subverts genre prose and structure to create the situation where no other genre book can compare or satisfy. Think apocalyptic (\"The Road\") or crime (\"No Country for Old Men\"). And so it is with \"Blood Meridian\", a bold work that subverts the western genre and violently rejects frontier revisionism.\n\n\"Blood Meridian\" follows the Kid, as he falls into a cowboy gang that rides through New Mexico and Mexico, paid to collect Indian scalps (this is true). It was the colonial approach to conquering the new frontier as American settlement expanded from the east coast to the west coast. Led by the Judge, a nightmarish, philosophical brute that riffs poetically on the nature of man, god, and war, and takes satisfaction in his genocidal conquest. Soon the scalping includes Mexicans, children, and other settlers.\n\nMcCarthy explodes the noble cowboy myth, as well as the idea of a peaceful expansion across the continent. His America was birthed in genocide (this is true).\n\n**\"Good to Great\"**, Jim Collins\n\nThe only *business* book on this list.\n\n\"Good to Great\" eschews the philosophical preaching of most business titles to present the findings of a five-year research project into the commonalities between companies that went from good to great, and were able to sustain that greatness.\n\nCollins litters the book with data—quantitative and qualitative—to suggest five common traits of a great company. It's not so much a framework but a Rorschach test. Recommended for any founders wanting a guide to removing the ego from the business and creating a company culture that involves the entire workforce.\n\n***\n\nOriginally published at [writing.daniel-dewar.com](http://writing.daniel-dewar.com/post/founder-recommended-reading-list/) on June 2, 2017.",
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      "body": "> There is no such thing as a natural death: nothing that happens to a man is ever natural, since his presence calls the world into question. All men must die: but for every man his death is an accident and, even if he knows it and consents to it, an unjustifiable violation.\n\nI have thought about death for as long as I can remember. Not dying. Death. I have no desire to die although one day I will.\n\nWhen my grandparents died when I was young I remember wanting to stay in the room with them. I missed the moment but I still wanted to witness the *after*. They had life until they did not.\n\nSimone de Beauvoir's \"A Very Easy Death\" has been on my to-read list for some time. Its reading followed \"A Lesson Before Dying\" by Ernest J. Gaines, which followed Julian Barnes' \"The Noise of Time\", about an artist's spiritual death. I still have \"Grief Observed\" (C.S Lewis), \"The Denial of Death\" (Ernest Becker), \"Last Words, Variations on a Theme in Cultural History\" (Karl S. Guthke) and many others to go.\n\nThere is a theme.\n\n> Religion could do no more for my mother than the hope of posthumous success could do for me. Whether you think of it as heavenly or as earthly, if you love life immortality is no consolation for death.\n\nI remember listening to \"Immortality\" by The Bee Gees when I was fourteen. For some reason the lyrics in that song evoked a great terror—I had sleepless nights trying to reconcile the limits of time and the eternal. Even if I could live forever, would I want to?\n\nThe time scale of immortality became just as frightening as the opposite. What is there to do in an infinite existence? What happens when the universe tears itself apart? What do we become witness to?\n\nI'm fixated on the idea that one day I will not exist anymore.\n\n> You do not die from being born, nor from having lived nor from old age. You die from *something*. The knowledge that my mother's life must soon come to an end did not lessen the horrible surprise.\n\nThere's been a couple of times where I have invited the thought of an early death. Its inevitability preyed upon an already depressed mind that (at the time) could only think delaying the inevitable was pointless.\n\nI've never had the urge to act—the thought was frightening enough. My approach has been to think about death as often and honestly as I can.\n\nThis all led to me thinking about what I would need in order to die. What satisfaction would I need to let myself go. And this is what ultimately drove my decision to quit full-time work and focus on Paperchain.\n\nThe intense focus has, for now, steeled myself against paralysis and is forcing each foot in front of the other. Not looking back. There is a line from now until the day I die. I'm learning more about myself and what I would need to arrive at that point.\n\nBe a better human.\nAn inspiring son, brother, uncle, brother-in-law, founder and friend.\nAn intelligent and interesting companion for my wife.\n\nThis informs my personal and professional work. It drives every relationship I make. It's helped me double-down on sincerity. It's behind every presentation. Every pitch. Every Paperchain success and every failure. It's become a part of my worldview.\n\nThere is today and that day and all the days in between.\n\n> We were taking part in the dress rehearsal for our own burial. The misfortune is that although everyone must come to this, each experiences the adventure in solitude.\n\nI know that I love living. Absorbing worlds and being aware. One day I will not.\n\n**Footnotes:**\n\n* You can follow everything I'm seeing, reading & listening to [here](http://daniel-dewar.com/seen-read-listened-2017.html).\n* The quotes featured in this article come from \"A Very Easy Death\" by Simone de Beauvoir.\n\n***\n\nOriginally published at [writing.daniel-dewar.com](http://writing.daniel-dewar.com/post/a-very-easy-death/) on May 25, 2017.",
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      "body": "Hi! I am a robot. I just upvoted you! I found similar content that readers might be interested in:\nhttps://paperchain.github.io/post/2017-08-11-music-industry-guide-to-blockchain/",
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      "title": "The Music Industry Guide to Blockchain",
      "body": "## A guide to blockchain technology and why it’s being proposed as a solution to many of the music industry’s woes.\n\nThere’s a lot of discussion in the music industry right now around transparency and rights management. This is in tandem with a discussion on how this would be implemented, and at the moment that discussion is being led by blockchain.\n\nAs it’s a relatively new technology, there’s not many who understand the technology and why it would be suggested as a solution for many of the music industry’s rights data challenges.\n\nFor the benefit of those in the music industry unfamiliar with blockchain, I’ve compiled an overview of what blockchain is, how it works, and how it could be applied to the music industry.\n\n## What is blockchain?\n\nIt’s easiest to think of a blockchain as a decentralized or distributed database that structures its data (or transactions) into blocks to sequence its history.\n\n![blockgeeks blockchain explainer](https://cdn-images-1.medium.com/max/1600/0*3YKFxohikHXrMAuO.png)\n\nSource: [Blockgeeks](https://blockgeeks.com/guides/what-is-blockchain-technology/)\n\nSimilar to peer-to-peer databases, each node of the network has a copy of the blockchain code and history, however there are a couple of key components at its core:\n\n* A “pure” blockchain is not owned by any one person or organization and is open to the entire network. Traditional database infrastructures rely on a single source of truth (a central server where the data is held). In a blockchain, participants of the network maintain data truth and are incentivized to reach consensus on the facts\n* It’s worth mentioning here that distributed databases already do exist and are effective without utilising a blockchain protocol.\n* Time-stamping. Each transaction is time-stamped to avoid double-spend and to create an accurate chronology of the blockchain\n* Mining/miners. Miners are servers that are utilized to solve algorithmic challenges created by the transactions. They ensure consensus is met on key facts of the transactions (wallet addresses, values, funds, etc) before the transaction is processed and added to the network\n* Anonymity. Participants are anonymous. User addresses are represented by cryptographic hash strings\n* Immutability. This is sometimes touted as its core strength. Immutability means that once a transaction or information is printed to the blockchain it cannot be altered or removed. Most enterprise organizations are experimenting with private blockchain networks that would allow for transactions to be reversed.\n\nThe anonymity of blockchains and its incentives for networks to self-govern are its greatest strengths. This allows for transactions to occur in an environment where network members do not trust each, without relying on an intermediary to govern protocols.\n\n## Where is blockchain being used right now?\n\nThe most well-known application of blockchain technology is Bitcoin. Bitcoin is currency and blockchain is the underlying protocol that the network or users and transactions interact with.\n\nBitcoin is just one application. Ethereum has become the second largest blockchain network, and its use case is built upon “smart contracts” that allow users to create their own cryptocurrencies or contracts that run on the Ethereum network. Contracts essentially automate transactions between parties (eg. IF Action X happens THEN release funds from Account A to Account B).\n\nFinancial institutions have been early experimenters in this space. One of the great potentials is to reduce the number of intermediaries and mid-handlers for international transactions.\n\nSupply chains and logistic companies are also experimenting early due to the ability for suppliers and buyers to transact directly without intermediaries. Governments are interested in this space due to the potential for land and title rights to be managed autonomously on a blockchain network.\n\nA lot of the interest above is derived from this idea of the information being public and immutable. This could solve issues of ownership or claims as there is a trail of information available to the network to assert truth.\n\nWhile identities on the network are anonymous, the transactions that occur are public. You can see which account is sending or receiving on Bitcoin and Ethereum, and you can see how much. But you only know the account hash address, never the individual.\n\n## How is blockchain being used in the music industry?\n\nA lot of the proof of concepts that are being worked on right now are focusing on copyright management as that is an area that has historically had conflicting claims of ownership and a lack of transparency. Some solutions are looking at how right owner information can be published to a blockchain and then disseminated throughout the industry.\n\nThere are also platforms that are looking to replace distribution, in which the blockchain-run platform controls distribution and copyright. These platforms have the challenge of not only industry adoption but consumer adoption as well.\n\nConcert ticketing is also a logical focus for blockchain technology. A contract could govern the rules around reselling to avoid scalping ,and intermediaries that contribute to large processing fees could be eliminated.\n\nCatering and logistics would be a complementary use case if those companies were to adopt an automated stock fulfilment and payment solution based on blockchain technology.\n\n## What are the implications of blockchain for the music industry?\n\nBlockchain has the potential for transparency to be provided in an area of the industry that has been traditionally (and some would argue purposefully) opaque. If those examples I mentioned above were to be adopted, artists would have full visibility over the money chain before it reaches them. It certain processes can be automated, it may remove some of the intermediaries between the artist and songwriters and their royalties.\n\n## What will the music industry look like after widespread adoption of blockchain technology?\n\nThis is looking very far into the future. Commercial and mainstream adoption of blockchain technology is at least 5 years away, even 10 years according to IBM.\n\nI think there will be a split between those who want to build a blockchain-based music data infrastructure and payment system now (that will be separate to the existing system), and those who want to maintain the existing system but eventually migrate over at a later date should blockchain be the most appropriate solution.\n\nWhile some intermediaries may be threatened by blockchain adoption, there will be new avenues for services built around the blockchain that will be needed.\n\nThere are service provider roles in the music industry that will be required that haven’t even been invented yet.\n\n## Drawbacks to blockchain adoption in the industry\n\nI can’t think of any drawbacks to adoption unless the challenges addresses below are unable to be solved. If it’s the right technology for the solution, then it should be explored, experimented with, and implemented.\n\n## What challenges will blockchain need to overcome to be adopted in the music industry?\n\n### Proprietary data\n\nLabels, publishers, service providers, PROs/CMOs all see their data as proprietary and have sovereignty over their database. They would not want this information publicly available.\n\nTo deal with the above, the blockchain would need to be permissioned, meaning that participants need to be identified and access restricted, in which case, why use a blockchain?\n\n### Blockchain may not be necessary\n\nMany of the proposed use cases so far do not require a blockchain. You can achieve the same with existing distributed and non-distributed database technologies, so the question can be asked again, why does it need a blockchain?\n\n### Cost and energy.\nIt’s estimated that the amount of power required annually to run the mining servers for the Bitcoin network is equivalent to the power output of Denmark. A blockchain for the music industry would require 100s of millions of more transactions processed than Bitcoin, which means more computing power to process.\n\nSo the music industry’s power requirements would be equal to Bitcoin, if not more. Who would be responsible for those energy costs? Would the music industry need to build its own power grid? What responsibility does the music industry have to energy consumption and sustainable futures?\n\nUPDATE. The[ Bitcoin Energy Consumption Index](http://digiconomist.net/bitcoin-energy-consumption) monitors Bitcoin energy usage.\n\n### Scale\n\nBitcoin currently processes around 7 transactions per second and Ethereum is around 15 transactions per second. Again, looking at the required transaction power, how long would it take to mine and confirm music industry transactions at the required volume? There is no blockchain technology that can support this.\n\n### Technology before solution\n\nThere is the risk that a lot of the current discussions see blockchain as a solution looking for the problem. Much of the music industry’s problems don’t require a blockchain to solve them yet. The issues stem from current data practices, poor data hygiene, ineffective use of data standards, the split between recording and composition rights, etc. These need to be addressed before the industry looks to invest in a database solution. Shit data on a blockchain is still shit data.\n\n### It still comes down to politics\n\nPolitical consensus still needs to be reached. Blockchain’s promise is that it can run transactions in a trustless network. Which is great. Who is building the blockchain? What rules is it based on? Who wrote the rules? Who owns the rules? The hardest part will still be to get industry consensus.\n\nIt’s ideal for organizations to fall in love with the problem and solution, not the technology. By leading with the technology, the solution it always going to be limited by the technology’s limitations.\n\nFor a better music industry, it’s important that we articulate and fall in love with the solution first.\n\n*Originally published at [paperchain.github.io](https://paperchain.github.io/post/2017-08-11-music-industry-guide-to-blockchain/) on August 11, 2017*",
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      "title": "Does the Music Industry Need a Blockchain?",
      "body": "## For an industry so reliant on digital means, its infrastructure suggests that an old-school mentality framed digital development — and so we’re left with a fragmented and dysfunctional data infrastructure. Does this mean that the music industry needs a blockchain to solve its metadata problem?\n\n![](https://steemitimages.com/DQmZXiZkKvKfthBSTwz7KrFW1s9tVGLPMfAwg4vcaw6thUP/image.png)\n\nAs awareness moves beyond BitCoin and cryptocurrencies to distributed ledgers, blockchain is fast-becoming the dominant (theoretical) solution to challenges facing many industries. No more so than the music industry — an industry plagued with inefficient and outdated data practices that interferes with the creation and maintenance of reliable data records, resulting in unpaid royalty revenue to artists, publishers and labels.\n\nFor an industry so reliant on digital means, its infrastructure suggests that an old-school mentality framed digital development — and so we’re left with a fragmented and dysfunctional data infrastructure.\n\nDoes this mean that the music industry needs a blockchain? This question — and its use as the title of this article — is too broad to explain the problem or even assume how the technology could be a solution. It’s a question asked repeatedly, often without a clear understanding of the problems or how blockchain will solve them.\n\nThere are specific instances where a blockchain may be practical and others where it is not. It’s important to distinguish the two and it’s important to realize that reliance on a blockchain in its current state of development — particularly mission critical functions — is a pipe-dream due to blockchain’s lack of enterprise scale. But enterprise scale is coming. So how can the industry prepare for it? What would a blockchain even solve? Is there a problem in the first place?\n\n### Digital consumption drives growth, reveals inefficient data infrastructures\n\n\nInteractive or on-demand streaming took over the music business in 2016. Album sales in all formats except one are down. Digital song downloads are down. Yet because of streaming, music consumption increased 3%. Combined with digital downloads, streaming has driven digital sales past physical sales. The global income for recorded music increased from $14.95 billion to $16 billion.\n\nEnd-user access points to recorded music has become even more fragmented. There’s been an explosion of platforms offering interactive streaming services (Spotify, Apple Music, Tidal, Groove, etc.) and non-interactive streaming services (Pandora, Sirius XM, etc.). More than 100 million people are paying for music streaming services. Performing Rights Organisations (PROs) have pivoted in order to cater to this market and they have been successful to a point — APRA AMCOS recorded record revenues of $333 million (11% YoY) thanks to an increase in digital revenue.\n\nYet the offerings from PROs have not been able to fully handle the sheer speed at which works are registered and the size of the incoming data. Opportunities have been created for smaller organisations to plug that gap (Songtrust, BMAT).\n\nIn order for any of this to happen, a recording needs metadata (Artist name, Composer, Title, Year recorded, Musicians, Producer, etc.) that is referenced to the recording for these organisations to identify the correct rights holders and pay royalties.\nThis increase in service providers has also meant an increase in siloed databases without a common schema or language between them. As the metadata is sent from the artist to the label and publisher, then to the distributor or the aggregator, the streaming or consumption platform, to the PROs — at each stage the data is transformed into another schema and another format. Errors are introduced along the way. “affirmation III” may not be accepted or recognized in another database because it automatically capitalizes the text to “Affirmation III” or recognizes the numerical “3” rather than the Roman numerals. The errors can be that fundamental.\n\nBecause the volume of music catalogues that now have access to potential earnings, the monetary value of the problem is exponentially worse. Conservative estimates suggest that over $100 million in royalties have gone unpaid or misallocated in the past 12 years. This figure could be closer to $400 million. Victory Records and Audiam conducted an independent investigation into Victory Records’ royalties from Spotify only to find they were missing 25% of their owed royalties. Beyond streaming services, $150 million in royalties go unclaimed every year.\n\n### Garbage in, garbage out\n\n\nIt’s not because streaming platforms don’t want to pay royalties. And it’s not because PROs aren’t doing their job. As I mentioned above, the sheer scale of catalogues and vendors has only amplified a long-term problem with data collection, storage and sharing within the industry.\n\nThis is recognized within the industry as the greatest challenge to its viability and the industry has attempted to respond in various ways. Digital Rights Management (DRM) was an attempt to create a more closed environment of rights identification and ownership. Its failure was in its design — DRM is anti-consumer. DSPs are allowed to assign licenses to their own media technology and in many instances this is still the case (particularly with films — a movie purchased through iTunes cannot be played on a media player other than Apple’s Quicktime).\n\nThe Global Repertoire Database (GRD) was the next big industry-wide response. It was a promising attempt to build a shared database of rights information and licensing agreements. With an estimated cost of $25 million to build, discussions broke down over who would fund and administer the database. There is very little trust between artists, labels, publishers, DSPs, and PROs and for a centralized database to work effectively, it requires trust between the database authors. You can see why this would never work.\n\nMost importantly, replicating bad data on a blockchain is not going to solve anything. All it will mean is that bad data now exists on a blockchain.\n\n### So what can blockchain do for the music industry?\n\nBitcoin is the most widely known application of blockchain technology however, more recently, Ethereum and Hyperledger have also thrown their hat in the ring.\n\nEthereum introduced the concept of smart contracts, where instead of simply running transactions via a cryptocurrency (Bitcoin), more tangible trading or validation requirements could be met, such as setting up a voting model, creating contracts that allow for the release of goods based on an action, or a crowdfunding campaign through the creation of your own cryptocurrency or token sale.\n\n### Smart contracts offered an alternative idea for how song metadata could be published and shared.\n\nThe key opportunity blockchain can offer is decentralized or serverless intermediation between industry stakeholder databases. It is more than likely this will be best served via a distributed ledger — at least when it comes to reconciling rights owner metadata available to the network.\n\nA distributed ledger is an interorganisational database that stores records continuously one after the other in a continuous ledger. These records can only be added when all of the network participants reach a consensus on their validity, ie. they have to agree on a given set of data before it is added to the ledger. How this could work is that network participants (labels, publishers, distributors, DSPs, collection societies) all need to agree on the metadata for a song before it is added to the ledger. Once added to the ledger, we now have it recorded that at an exact time in the database’s history, this data was known to be true. Time stamping plays a crucial role in ensuring trust in a blockchain network.\n\nAnother feature that is widely referred to in discussions around blockchain is immutability — that is, each transaction cannot be changed once it is processed. There are no refunds or reversals (to effect a reversal you would need to run another transaction). What immutability would mean is that once a set of metadata is committed to a contract, it cannot be changed, meaning there is an immutable record of digital rights ownership for a song.\n\nWhile this may seem solution that should have been adopted yesterday, there are many unknowns and impediments to the practical implementation. This is partly a technical problem — there is currently no blockchain technology that could process the amount of messages or events that occur within the music data network in a reasonable amount of time. The other part introduces similar political aspects that killed the GRD — is it a public blockchain? Private? Does each database have a node or are nodes created for a consortia? Who write and owns the code of the blockchain network, effectively owning the rules on how data is added to the ledger and shared within the network?\n\nNone of this means that it can’t be a solution, it simply means we’re a long way from working out whether it’s a viable solution at the commercial scale required.\n\n### Does the music industry need a blockchain?\n\nI would warn against developing a “blockchain-hammer” mentality — as in, everything now becomes a nail to be solved by blockchain. I would also warn against companies describing themselves as blockchain companies — it’s similar to calling yourself a JavaScript startup or a PHP company. Blockchain is just a tool.\n\nSo does the music industry need a blockchain? I don’t know. What it does need is a metadata solution. If you think blockchain is the only solution to this, then you’re only going to limit how you approach solving the problem.\n\nIt’s a problem that requires creative thinking and wider industry engagement. If the technical and political issues can be solved, then blockchain could very well be a part of the solution. But let’s make sure we’re not aligning ourselves to a technology.\n\nThe real solution will come from industry engagement and philosophical consensus. The technology might be the smallest part of the problem.\n\nLove this post? Please like and share below.\n\nOriginally published at [paperchain.github.io](https://paperchain.github.io/2017/04/06/does-the-music-industry-need-a-blockchain/) on April 6, 2017.",
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