Web3 critics often draw negative comparisons to the ethos that surrounded torrenting. The rise of web3 has once again brought attention to concepts of digital ownership, IP management and the rights of creators. The end of this period saw a sharp increase in intellectual property enforcement that coincided with the introduction of massively improved consumer options for digital goods (think Spotify, Netflix, Apple Music, etc.). This era forever changed the music and movie industries and pitted artists against fans. The most divisive period in digital entertainment history was the Napster era and the mass adoption of using BitTorrent in the 2000s.

The rising popularity of music NFTs brings a particularly interesting argument into focus: Is blockchain antithetical to the free and open virtues of torrenting? Or is it fighting the same gatekeepers that content pirates aimed to unseat? Artists versus fans

When you were pirating Outkast in 2003, could you have imagined a world where you earn royalties for owning a copy of that MP3?Īt a time when NFT and web3 criticism is reaching fever pitch, hip-hop legend and innovator Nas is selling two of his singles as NFTs, which fans can purchase to claim streaming royalty rights. Chris Fortier is VP of Product at Rally, a platform for creators and fan communities to build shared economies powered by social tokens and digital goods and services.

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