Category: How You Profit from Beyoncé and Bieber?

Continuing from the last post, in fact, I’ve found that once you (comparatively) thoroughly understand an asset class, many things are easily understood. For example, let me draw a comparison between commercial real estate and music copyrights to quickly explain:1. Both of these asset classes focus on cash flow. For example, looking at a building, it’s all about rental income. Looking at a song, it’s all about royalty income.2. The rent of a building? It’s easy to benchmark; just search online for similar properties in the same area, and you‘ll find plenty. What about the cash flow and income of a song? How... Continue reading

Continuing from the previous post, I don’t believe a small team can consistently purchase copyrights from various A-list celebrities. So, I’m very interested in knowing whether their deal channels are reliable, sustainable, what their pipeline looks like, and how they manage to acquire these copyrights. The person I talked to is Tim, and he was quite frank in his response. He said, “Of course, we don’t buy directly from A-list celebrities like Bieber or Beyoncé! The premium is too high (multiples can reach over 20), it’s just not worth it. You see, the copyright of any song doesn’t belong to just one person. The lyricists,... Continue reading

Continuing from the last post, I asked, “So, which of these scenarios do the sellers who approach you fall into?” He replied, “All of them! One of the most profitable songs we bought was from a producer who needed cash to buy a house, so he sold it to us. Then, tragically, the singer passed away a month after we bought it, and the song’s streaming numbers increased by another hundred million. Until now, the cash flow from that song every year has been 15%-20% higher than the purchase price. Another person sold us several songs because of multiple divorces; each time he divorced,... Continue reading

Continuing from the last post, as I varied my questions on how to assess a song’s cash flow, Tim went on with his high-level talk, mentioning various platforms where data can be scraped from. He explained that when a song is released, it typically sees high traffic, but within about 12 months, it usually declines, and what we buy into is the long-tail effect of income. We can acquire this income with a multiple of around 10-12 times. He mentioned previous purchases where the artist passed away, resulting in a doubling of streaming income, which turned out profitable, and so... Continue reading