(upbeat music) >> Hey, welcome back everyone to theCube's live coverage of the Monaco Crypto Summit here in Monaco. I'm John Furrier, host of theCube, and Lauren Bissell here, founder and CEO of Immutable Industries, focused on the advancement of technologies in art, entertainment, blockchain across multiple sectors. Great background in entertainment music, complying that into the convergence and to crypto. Welcome to theCube. I appreciate it. >> Thank you so much. Thank you guys for having me. It's been an incredible day so far. >> So we were just talking before we came on camera, your background and just the people you've worked with in the music industry. You've been there for a very long part of your career, from the beginning. Now you're on the wave of Web3, crypto, DeFi. There's a confluence of refactoring businesses. We're seeing that impact. And I think a lot of people, finance and entrepreneurial, the best brains are coming into the sector because it's an opportunity, clearly, to reset and refactor old antiquated business models and practices, in a new way to achieve the same things. Better, faster, cheaper >> Exactly. Better, faster, cheaper, is good sometimes, other times that's... We will see. But I think for me, coming in from the music industry was something that, I honestly never expected to be involved in blockchain and futuristic tech. It's always something that I admired, but I didn't really see, "Okay. Here's how I can be involved in that." I was obsessed with it. But as I was sort of progressing my career as a music producer, I saw so many issues with the industry. The way capital came in, the way that it was distributed. I mean, these things are still happening today. But I was just constantly looking around for better solutions and how to make this work in a better way. In 2017, when I started really diving into crypto, that was something where I saw a huge opportunity for the entire industry. The music industry is notorious for just sort of being behind the curve when it comes to new tech. And it's a shame. When you're in an industry that's full of art and innovation, you would think that it's something... It's an industry that would embrace this position. Maybe some people do this, and I applaud those people very much. But in general, the music industry is kind of behind. We live a little bit in the Wild West. Not in the futures way, but kind of in the old way. I'm just really excited to be able to bring these things into the industry. >> It's interesting. I'm not in the industry, in the music side, but I've been on the software industry, where you had the proprietary software, the rights, and people used to build software. And then when the company went under, the software was gone, lost forever. And in around the late eighties, nineties, open source movement happened, and it just changed everything. And I think, to me, I feel like this is a similar structural inflection point in change, where rights are changing. People are still holding onto like, "He can't use the copyright." And I even saw a stat that said, with AI now, you can actually copyright every single melody, every single note in music. So that means like, "Who the hell's going to develop anything?" So are even rights even matter? So rights, ownership, art, mixing. Funny story of my son, a year and a half ago, mixed an old song from a band that wasn't around, and it became a TikTok sensation. Hundreds of millions of listens, and then the Spotify and Apple account was making like 20,000 a week, and DistroKid cut him off. Because someone went back and claimed the copyrights. But it was a mix of a couple of different pieces of the song for a new melody. But because that wasn't his work, the middle man killed the account. >> Right. But if there had been maybe an easier solution for him to go get those rights. So I actually used to be a rights and royalties negotiation specialist. I was on the phone with labels, every second of every day. From a producer standpoint, you're trying to find something that works for the artist, something that works for the label, something that you can arrange in perpetuity, if possible. But it's just... Again, there's so many people that have to just get on the phone- >> Like a busy gen system of like- >> Yeah. >> Weirdness >> Right. >> What's the solution? >> I mean, right now one of the favorite... It's super simple. Smart contracts related to publishing and royalties. Now you still need, probably in the interim, someone to go out and... The old school job for someone in rights and royalties is sitting in a restaurant and listening to see if the music is being played, and then you write it all down on a piece of paper. I mean, that's quite old school, but that still happens in a lot of places. So we can kind of move into smart contracts for the payment systems, and eventually we can move into AI, to actually detect what music is being played where. Just to go, not really on a tangent, but it's like, "Okay. Well, are we taking a job away from someone who's supposed to sit in a restaurant and listen to the music?" Well, I think we're developing a lot of new jobs by needing to generate this software. This is more- >> I've heard that. We've heard that argument before, "Oh! Bank tellers are going to be put out of business by the ATM machine." Turns out there's more branches now. >> Right. >> Okay. There's a total waste there. I mean, people say that are like... I mean, but it does bring up the next gen, the creator, the young artist, the ability to collaborate with smart contracts, the removal of the middle person in all this, the intermediaries. That's really the key, right? >> I think it is the key. And like I said, before removal of the middle person, some people would look down on that. I think it's more efficient systems. When you have more efficient systems, you have more efficient societies, you can create bigger and better things. So is there a change process that has to happen there? Yeah, of course. But this is humanity, this is history, this is what happens. >> Okay. So you're a pro, you've been through- >> I just embrace that. >> You've been through the business, you got the scar tissue, you got the experience, you got the brains. Now you're here in the front of a new generation, a lot of pioneering going on, a lot of chaos, a lot of confusion. Some people... Blood's spilling on the ground. There's a lot of stuff going on, that is opportunity. What are you up to? How are you attacking this market, how do you look at it, what's on your mind? >> Yeah. I mean, so what's funny, I've actually been spending the last few years, sort of directly advising individuals and companies in the music industry. So everyone from artists to label executives, content distribution executives, licensing teams and publishers, and sort of explaining, "Here's how things work. Here's how we think they're going to go. And here's how, instead of running away from that and trying to block your artists from using that system, we can actually use this to enhance the financial pie of the music industry, instead of just trying to steal a piece of everyone else's pie." That's what I really want to do, is, the industry pie can get bigger. We don't need to steal your blueberries. It's just- >> They're picking up crumbs and fighting over crumbs >> Exactly. The industry changed, and I understand why it's scary. I really, really do. I've lived through this. But it's going to be- >> What do they say? What's your advice to them, and what's their reaction? Is it like, "Yeah, you said that you'd get lip service." Or like, "Yeah, we're trying my best. I'll stop drinking, I promise." I mean, I've heard... I tried last week. I mean, are they actually getting it done, or they don't know what to do? >> Yeah. Well, I think it starts with individuals. I actually spent a lot of time working with individuals on education and how they can take that information to their companies or implement that in their companies. It's on sort of a corporate level. It is slower. That's okay. That's expected. But educating sort of individuals, like I said, that's what I've been doing for the past few years, is what's really been helpful. Because if you just kind of do this overnight, I understand it's not going to happen overnight. But being able, like I said, to figure out, "Okay. We grow the financial pie for the whole industry." This accumulates, this helps the health of the industry. Like I said, I grew up in the industry. I care a lot about the industry. I actually want to see good things happen- >> Positive change. >> It's in my heart, in my soul, to make the music industry- >> So Lauren, I got to ask you. So as you see the industry changing, and it's going to be hard to get people to go through transformation. >> Yeah. >> They have to get there. Otherwise, they'll be extinct. And we kind of see that. Is there new brands emerging that have a clean sheet of paper? Because I'm a far young artist, I'm saying to myself, "Okay. If I can write my own ticket..." And by the way, brands become platforms is a big trend you're seeing with NFTs and- >> Yeah. >> And these great Web3 platforms. So I got more social power, I got collective intelligence, I got network effect, I got fans. All that's tappable now from a monetization standpoint. >> Yeah. >> Are there new agencies, new brands, emerging that's artists friendly like this? >> I mean, that's one of the reasons we're here, to begin with. I'm obviously just going to mention Digital Bits, because they're literally creating NFTs for brands. I'm here because I believe in what they're building. Their model is applicable to brands, it's applicable to artists and athletes. I actually truly believe in what they're building and how they're doing it. NFTs is a faster way to achieve what we thought we were going to achieve with sort of the tokenization of a person or an individual brand. NFTs, I think, is a better way to do that. Obviously NFTs are tokens as well, but it's a different type of thing than an ICO. >> It has more versatility and it's got the same kind of characteristics- >> Yeah. I think you can build more community with it, you can maintain the value of the token itself, the non-punchable token itself, a little bit better, and you can build community around it. >> What are some of the companies you're advising and people you're advising? Are they record labels, are they executive, like an executive coach on one end, business consultant on the other? >> Yeah. >> What's some of the range of... >> So I actually advise a couple of brands, I can't completely speak about in the music industry, but from the executive position, I do advise individual executives from the label and the content distribution side, on sort of how to implement futurist tech into their company a little bit better, and sort of what the real things that are going on, the new things that are going on. I actually just took on a role for a company called Cyber Yachts, which I'm really excited about. This one's just going to be fun. International music, entertainment, fun. >> Do you need some media up there? We'll have to do interviews on both- >> Yeah. You can come on the metaverse yacht and the physical yacht, if you want to. But- >> Monaco's a great place for that. >> We will be here. >> All right. >> Absolutely. >> So tell me about the future of some of these big agencies you mentioned? Because if you look at the market right now, if you zoom out, content is king, distribution is Kong. That's what they say. There's a lot more distribution now more than, it seems, content. That's maybe on some perspectives. But it seems like there's a lot more outlets looking for better content. >> Always. >> Do you agree that distribution's hungry for the content, or is there more content than distribution? >> I think it just depends on the type of content. If you look at the content that's being distributed over, say social media, for example, there's a plethora of content. >> Yeah. I guess I'm not- >> There's actually, now, this new hierarchy there, where you have to really scrap to get to the top. So in a weird way, you're seeing that sort of mimic. We see how societies work. So now that's become very hierarchical, and that's almost mimicking the way the traditional industry has been developed. So we go through these cycles. >> It must be hard for a record label to try to do the A and R job, when you have more artists emerging from TikTok, Instagram, the social networks, or- >> I would say their job's probably gotten easier. >> Do you think because of the filtering? >> Well, yeah. Now you can view so much talent in a tiny amount of time online. Now, do I know what they are like lives, do I know how they perform? No, I got to go figure that out. But before you had to go to clubs and sit in there, and run around a city. You can only be in so many places at one time. >> You got to chase content down, look it down. >> Yeah. >> All right, so what's the most exciting thing that you think is happening in the whole crypto world, that's people should pay attention to, that's going to impact some of the mainstream? What's the most important things, do you think? >> Well, something that's actually, somewhat unrelated to music, which is government adoption. Sorry, but hands down, that is the most exciting and important thing that's going on right now. >> Adopting it and embracing it is important. >> Adopting it, embracing it, new regulations coming out. >> Are you happy with the progress? >> Yeah. I mean, it takes time. But right now we're the biggest sort of country that sun is, El Salvador. >> And now Monaco's leaning in. >> Now Monaco is obviously leaning in, that's... It's exciting. It's really exciting. >> Well, to me, I think Digital Bits, so when you climbed in earlier, is that, there's a legitimate crossover between the physical asset, digital asset world, and now the kind of the tough parts, the in between the details and the gaps, the contracts, the royalties. >> Yeah. >> Compliance. What does that even mean? >> Right. >> How is that going to get sorted out? Do you think this is going to settle itself out on its own or self govern, a little bit of a iron hand in there, or... >> It'll be a mix. I mean, there's a lot of trial and error going on right now, as far as governments. Like I said, there's really only a few places in the world that are doing it. I applaud these places for their bravery because... Don't get me wrong. It's going to be a struggle. There's going to be failures and successes, and being willing to be one of the countries that does that, that shows some grit. I really respect it. >> And the upside is if they get it right, it's huge. Lauren, final question. What are you up to next, what's on your mind? What are you working on beyond this consultancy? What's around the corner for you? Where do you see the self dots connecting in the future? >> Well, I'm really... Right now I travel quite a bit. I spend a lot of different... A lot of time at different conferences. I spoke earlier a little bit about an education program that I'm developing with an alliance with Draper University in El Salvador. So I want to finish the programming for that. We're going to scale that out across multiple countries. And that's everything from education for governments and education for people that, maybe just recently heard of Bitcoin and they don't even know how to go about seeing what it is. >> 5G in emerging countries is pretty potential there. >> It is. Absolutely. >> Great stuff. Lauren, thanks for coming on theCube sharing. >> Thank you so much. >> I appreciate it. Lauren Bissell here on theCube, I'm John Furrier, live in Monaco, for the Monaco Crypto Summit, Digital Bits. We got a big gala event tonight with Prince Albert in attendance. A lot of action, a lot of big news happening here. All the players are gathered for the inaugural Monaco Crypto Summit. I'm John Furrier. We'll have more live coverage after this short break. (upbeat music)