Do we have a Black Swan event? – Easter 2020


It’s starting to look that way (according to
  • A black swan is an extremely rare event with severe consequences. It cannot be predicted beforehand, though many claims it should be predictable after the fact.
  • Black swan events can cause catastrophic damage to an economy, and because they cannot be predicted, can only be prepared for by building robust systems.
  • Reliance on standard forecasting tools can both fail to predict and potentially increase vulnerability to black swans by propagating risk and offering false security.
Some of you might remember back in December 2014 and beyond when we were “only” talking about music and the need for a reboot of the music industry.
Little did I think that a reboot of the world’s economy was to come six years later. And that we would be sitting on one of the few currencies “immune” to inflation and recession.It’s based upon intrinsic value – Internet content royalties!

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Let’s face it: the Internet is becoming the centre of human societies more than anything these days, and more importantly, it’s irreversible so. Due to current restrictions and WFH (working from home), the average working consumer has another 15% of their waking hours free. (Ref:
Internet is a place we find information, where we look for numbers and facts (not going into any conspiracy theories, so please refrain from commenting ?).
More importantly, we are looking to the Internet to be entertained by YouTube, Instagram, Facebook and others. And by listening to Spotify and other DSPs that provides us with music. We are reading online newspapers, and we are watching digital TV channels all the time.
When the recession comes, the offline will be hit (gigs, concerts and events) – while more and more finds its way to the online and the market that copyright covers. The question is (in my opinion) whether we are dependent on the technology or the content. My view is that technology will be there and evolve no matter what: A bit simplified – it’s a matter for Moore’s Law.The same can NOT be said for content, however.
Someone has to provide the creative part that technology is delivering!One element of our lives remains completely unchanged  –  the need for MUSIC –  We all seem to find that life is intolerable without it. Technology allows us to access our chosen music anywhere, any time and anyhow! However, the global management of copyright is woefully antiquated.
NIM has developed a unique economic ecosystem giving copyright owners the means to sustain and build their careers while getting properly paid to do so.
(Guy Fletcher, OBE: Former Chairman of PRS for music and co-founder NIM)


We know that the current copyright management system is failing to address many of the challenges of the digital age. Artists sometimes have to wait between 18 months and three years to get their share of royalties from streaming platforms.


NIM has started turning to the 250 content owners who create 90 % of the global music turnover. At the same time, we are offering our platform to the entire music ecosystem, e.g. by letting collecting societies (Ivors/PRS, SKAP/STIM, composer organisations etc .) to use as a white-label service.


Using technology developed over the last five years, we allow (almost) real-time payment of royalties for artists (starting with music) by licensing the music to DSPs (Digital Service Providers, e.g. Spotify, Deezer, YouTube)
  1. NIM is granted the exclusive right to administer/represent the said artists in the digital space. To do so, advances will be made by NIM or through white label partners. Example: an advance of euro 20 million is made. In exchange, we are granted the right to represent him/her and manage hers/his (online) copyrights for ten years.
  2. The various DSP’s (Spotify etc.) will then have the legal obligation to go through our platform to buy licenses for every stream of that song (either user-centric or service-centric)
  3. To acquire those licenses, they have to buy our payment tokens, CREATIVES® (CCIM). They buy them from a not-for-profit foundation (based in Estonia) which manages the CREATIVES® and acts as a “Central Bank” of the tokens.
  4. The acquisition of CREATIVES® by the DSP’s is effectuated in FIAT (euro, pounds, etc.) at a fixed ratio (for instance: 1 CCIM for 1 euro). The funds are put in escrow on a bank account of the foundation.
  5. Once bought, the required amount of CCIM is sent to the artist’s wallet (or of his management company) every time there is a stream on Spotify (or in case of advances to advances wallet until the advance is recouped).
  6. The artist (or representative) can convert his CCIM at any time into FIAT. He will do it by a simple request to the foundation. The foundation will transfer the corresponding amount of euro (or another accepted currency) to his bank account. The CCIM is then returned to the foundation, making it available again.
inline_12_ the Investors making the advances (see 1), this is a very secure and profitable investment:  The reimbursement of the advances is secured by the future flow of royalties (and the payment for CCIM by DSP’s, see 3 and 4).

Why us?

With more than 500 years of combined experience, the core team and advisors of NIM (CREATIVES®) are influential and respected members of the music industry and have direct and privileged access to the top 250 artists and their managers. With a fully developed technology ecosystem, this is an unfair advantage you will be hard-pressed to find in any other proposal.

More money, faster – to content owners…


Do your own Research

This newsletter is intended to be used and must be used for informational purposes only. It is imperative to do your own analysis before making any investment based on your circumstances. You should take independent financial advice from a professional in connection with, or independently research and verify, any information that you find and wish to rely upon, whether to make an investment decision or otherwise.

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