![]() ![]() Net Purchases are Purchases minus credits and returns. Points are earned on eligible Net Purchases. Bank National Association and its affiliates as provided under the Cardmember Agreement and applicable law. We may change APRs, fees and other Account terms in the future based on your experience with U.S. Any amount over your Minimum Payment is applied to balances in the order of highest to lowest APR. Bank ExtendPay ™ Loans if any, and then to non-Fixed Payment Program balances in the order of the lowest to highest APR. ![]() When you make a payment, the amount up to your Minimum Payment is applied first to the monthly payment obligation for U.S. 0% of each foreign purchase transaction or foreign ATM advance transaction in a Foreign Currency. Foreign Transaction fee: 0% of each foreign purchase transaction or foreign ATM advance transaction in U.S. The annual fee is $0 introductory annual fee for the first 12 months, after that $95. There is a $1 minimum interest charge where interest is due. Balance Transfer fee: 3% of each transfer amount, $5 minimum. Cash Equivalent fee: 5% of each cash amount, $10 minimum. Convenience Check fee: 3% of each check amount, $5 minimum. Cash Advance fee: 5% of each advance amount, $10 minimum. The variable APR for Cash Advances is 28.99%. ![]() * The APR may vary, the variable APR for Purchases and Balance Transfers is 18.99% to 26.99% (based on your creditworthiness). Find a financial advisor or wealth specialist.(Point of historical note: two decades before Rhapsody launched, the CD was still at the idea stage.) Following the rate of inflation, a $9.99 subscription in 2001 should be $15.43 today. That means subscription streaming has not increased in price for two decades. Competing services coming into the market ever since have all held to the same price point (more or less) for their core single-user offering. Today’s default market price was effectively set in stone in the early 2000s by Rhapsody (now rebranded as Napster) at $9.99 a month. The elephant in the room is pricing – or, more specifically, the services’ reluctance to increase the cost of a basic subscription. Then when discounts, telco bundles and multi-users accounts (such as family packages) are factored in, the ARPU plummets further. For the freemium services, their ad-supported side has a tendency to drag down the ARPU (average revenue per user) of all users. Ultimately, these numbers only give one perspective on growth in the market here – distilling it down to pure user numbers, not looking at total revenues. They are better approached as snapshots of the optimism – or the pessimism – defining the business today and how certain brands continue to glow for consumers while others start to fade in relevance or see their edges dulled. ![]() When one holds forecasts from a decade or more ago up to the light of today they often crumble into dust.īut rather than dismiss all forecasts as doomed enterprises, it is perhaps better to have them stand as a marker for the confidence (or the lack of confidence) currently coursing through the veins of a certain sector of the business. Forecasting market growth in the music business has always been an undertaking fraught with incredible risk. ![]()
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