#How to be influential on Substack?

[mehmetyildizmelbourne-blog]

The Substack Eminence Book

An Original Book For Ultra-Advanced Writers Who Want to Scale with Clarity, Authority, and Integrity. Written by Dr Mehmet Yildiz, a Community Builder and Substack Bestseller The Substack Eminence Book Is Coming in August 2025 Dear Freelance Writers, Startup Founders, and Journalists, For those who don’t know me, I am the author of the best-selling book, Substack Mastery and Advanced Substack…

[darkmaga-returns]

Thursday June 5, 2025 TRUTH BOMB

Karen Bracken

The Muleshoe Land Grab - in the past couple of years conservation easements/agriculture easements are on the rise again. Understand this……these easements are not a favor to farmers or land owners. They are the opposite. They are how struggling farmers and land owners have their land stolen. Many states, including my state of Tennessee has jumped on board with Biden’s 30X30 plan and bullied legislators to pass agriculture easements. If states really want to help farmers they will lift the many regulations put in place that were meant to regulate and tax farmers out of business. Bottom line…….they want the land and they don’t want it to farm food. American Stewards of Liberty created by Margaret Byfield has worked for years to protect farm land and private property. American Stewards of Liberty were influential in stopping NACs (Natural Asset Companies) from gaining a place on the New York Stock Exchange. If you want to donate and support a great organization ASL is a worthy group. This link will provide some good information at the bottom of the page. Be sure to read and save the 30X30 Land Grab and the 13 Keypoints Landowners Should Know About Conservation Easements or Servitude? - This is not just happening in Texas it is a national program that was escalated under the Biden administration - ARTICLE/VIDEO (6 min.)

How Rockefeller Hijacked Education to Breed a Class of SLAVES with Man in America and Alex Newman - 1 hr. - VIDEO

The BIG DEAL About Birthrights by Lex Greene - if you are taking the time to read articles by Lex Greene please consider subscribing to his Substack. I do not post all of his articles so not to miss any articles (they are all valuable lessons in freedom and the original intent of the Constitution) consider subscribing. ARTICLE

Trump signs new travel ban that limits entry to US from a dozen countries, restricts seven more - ARTICLE

Blurring the lines: Making people more like machines and machines more like people by Leo Hohmann - ARTICLE/VIDEO (1 min.)

[spiderfreedom]

Politics is for power - towards radfem organizing

There is a lot of amazing radfem theory on here but it usually stays within our circles. Now the nature of Tumblr is that within 5 years, it will inevitably leak out somewhere else, but we must speed that up.

The major people who would be sympathetic to our cause are gender critical feminists. Not all of them, but some of them would definitely be interested in some of our arguments. We should find gender criticals who we think might be interested in some of our arguments and start communicating with them. A lot of gender critical women are on Substack. We can comment on their pages with extra resources, Substack writers are usually grateful for more material to reference. We can subscribe to them (if you have the money) and contact them directly with experiences that they can then further write about on their platforms.

It’s time we become active political forces. Any successful political movement requires action on multiple different fronts. We need to reach out to influential people. We also need to be active on social media as active as the enemy is. If you can’t post publicly with your current account, then make a new one using a new email and start posting. Don’t just post about radfem stuff but post about other things. We are full human beings, and radical feminism is just part of us, and we need to show the world that. Use your accounts (use emails from gmail or protonmail or other email services) and then post on Instagram, TikTok, Reddit, etc. Because this is not your main account, do not be afraid of being banned. We are fighting a digital war as much as anything else. We are fighting things like Sh1n1gam1 Eyes which literally try to censor us. We know people like our ideas when they don’t know it’s coming from us. Take advantage of that.

If you have money, donate to people you trust in and believe in. I strongly recommend AGAINST working with conservatives or Republicans. In the long run, they always pervert our arguments, and it ends with most people not trusting us. Working with conservatives is NOT realpolitik or pragmatics, it is short term satisfaction at the cost of long term control. There are more of them than there are of us, which means they are the ones who have the power to control the narratives on their platforms.

Finally, if you are lucky enough to have real life radical feminist networks near you, take advantage of that! If you are good at organizing in real life, try to start one near you. We need a real division of labor to cover short term tactics and long term strategy. Your city may have a local feminist group that is working on something like violence against women. This is worth getting involved in. It will take a while to build up large institutions that we can use for long term strategy.

Whether you have a thriving local scene or can only do digital activism, there is a role you can play. You don’t have to stop posting theory, but let your imagination soar - how can you take theory beyond radblr? How do we do the work of long term convincing people? There are a lot of motivated and intelligent people in this scene. It’s time for the next big wave of feminist organizing.

[mightdeletelater]

on elon musk and if holding tech companies accountable the way we do nation-states is the fix

this post was originally published on my substack

Elon Musk promised entertainment and a professional, coherent conversation between himself and Donald Trump. Instead, we got technical difficulties and hours of rambling nonsense from two ultimate shitposters who are prime examples of immaturity, toxic masculinity, faux intelligence, and unmitigated main-character syndrome all rolled into one.

It started with technical issues that Musk blamed on a DDoS (distributed denial of service) attack, an intentional attempt to bombard a site with traffic to stop it from functioning. Funny how the rest of the social media platform seemed to be working fine. 

Forty-five minutes later, Trump and Musk were able to begin. It started with the assassination attempt that the former president survived before diverting to attacks on the US president Joe Biden and vice president Kamala Harris, who is now the Democratic nominee.

The discussion truly proved that interviewing is a skill (one that Musk does not possess). While the two men agreed on issues like the economy, climate change, immigration, and inflation, the conversation was frankly a mess. The context of how this interview came about, along with Musk’s drift into right-wing ideology, shows that while the billionaire didn't create Trump’s resurgence or other right-wing fanaticism around the world, he has amplified and mirrored the movement in a way we've not seen from a Western tech leader before.

In 2022, Musk said that Trump should "sail into the sunset" and endorsed Ron DeSantis as the Republican presidential nominee. Trump responded by labelling the X owner a "bullshit artist." Two years on, Trump is saying that he “loves” Musk. “We have to make life good for us smart people. And he’s as smart as you get.”

Musk denied reports that he would contribute $45 million a month to a Trump-supporting Super PAC. Still, he actively promotes the former US president through his personal feed and is believed to have influenced his decision to consider JD Vance, a favourite among right-wing tech entrepreneurs, as his running mate – obviously that has worked in his favour. 

After acquiring Twitter, Musk stated that "to deserve public trust," the platform must remain "politically neutral." The consensus is that he has failed to follow through on this stance in the US and elsewhere. Instead, he has weaponized his influence by promoting well-known far-right accounts and neglecting moderation.

Musk has fired half of X’s election integrity team, dissolved the trust and safety council, and modified the verification system so that anyone can pay for the visibility it offers. Musk claims to be committed to free speech, but this principle has not been consistently upheld. Case in point: the “White Dudes for Harris” account was briefly suspended and then labelled spam. His influence on the platform is also massive, given his 192 million followers and the rest of us who see his posts after he reportedly instructed engineers to boost his visibility. False or misleading claims Musk has made about the US election have been seen nearly 1.2 billion times and seem exempt from X’s “community notes” fact-checking system.

X isn't a traditional mass media outlet, but it's the go-to platform when major news breaks, serving as a hub where influential people start debates that eventually reach a wider audience. Musk has shown no willingness to adapt to the norms of other countries where his strict free speech ideology may be less accepted than in the US – reinstating Tommy Robinson (one of the UK's most prominent far-right figures) and Andrew Tate (a ‘manosphere’ influencer), both previously banned figures, proves that. Their leverage has become evident in recent weeks, and Musk's own statements following the Southport attack have been among his most provocative in the UK. Before Musk took over, much of the most inflammatory content would likely have been removed, but that kind of moderation no longer happens.

Engaging in a back and forth with the UK prime minister, Keir Starmer, and personally promoting accounts that question the severity of the riots while claiming Muslim agitators go unpunished, Musk has reportedly dismissed requests from the government’s disinformation unit to remove content it believes are instigating violence. Him sharing a post which featured a fake Telegraph story falsely claiming that Starmer is considering building “detainment camps” on the Falkland Islands is extremely troubling. Even more so when the post was viewed two million times before it was quietly removed after realising he fell victim to a dumb misinformation post himself. 

The EU filed charges against X last month under the Digital Services Act for disregarding European law and allowing disinformation and illegal hate speech on the platform. If successful, the EU will be able to hit Musk with substantial fines and implement modifications if X wishes to maintain access to European users. But his staggering fortune means he will be able to cover any loss. 

This situation can't be allowed to continue unchecked. But how do we address it? Legally, Musk isn’t accountable to anyone. But lies can wreak havoc when they spread. And that spreading now takes seconds thanks to Musk. Can governments treat these powerful tech companies as if they were governments themselves to tackle the issue? After all, some of these companies are larger and more influential than actual nation-states.

However, it’s crucial to remember that private companies and nation-states are fundamentally different. Treating one as if it were the other can lead to very negative outcomes. Nation-states have the power to trade, impose trade barriers like tariffs, control travel, and sign treaties.

The relationship between nation-states and private organizations (or individuals) is also distinct. Governments can levy taxes, impose fines for legal violations, arrest and imprison individuals, and control entry through visas. Their actions have inherently different tools and impacts.

Over the past ten years, when interactions between governments and companies like X spread content that incites violence, typically, these companies agree with the need to curb such content, often because it's in their own interest to do so. The problem that has arisen is the differences in the best approach. The situation is entirely different when a company is owned and operated by someone who is one of the primary spreaders of that very content. It is in the interest of most companies to avoid spreading this type of information because it damages their reputation and discourages advertisers and users from staying on the platform. But not in Musk’s case.

Musk seems to enjoy sparring with governments, as long as they aren't his right-leaning authoritarian buddies. Pushing or threatening him on these issues is likely to result in him portraying himself as a free-speech martyr.

The focus shouldn't be on a standoff between the UK government and Musk but on how to prevent these situations in the first place. How do we educate the public to avoid falling for inflammatory verbiage? How do we ensure that uninformed fits don’t have the far-reaching impact they do today? Musk says he has the right to freedom of speech. Sure, fine, whatever. But that does not mean he should have freedom of reach. 

The solution likely lies in creating more spaces for people to speak and connect, so that X or any other platform holds too much power. Large companies should not be treated like nation-states. We should be at the point where no company becomes influential enough to be misperceived for one.

Billionaires like Musk don't buy media companies like Twitter to make money. They do it to spread their divide-and-rule politics and thereby protect their class interest. After his conversation with Trump said he would be happy to do the same with Harris on the platform – a clear act of attempting to appear fair and neutral. Perhaps his time would be better spent trying to get even half of his 11 children to talk to him, rather than persisting in his $44 billion experiment as the world’s disinformer-in-chief.

[free-luigi-mangione]

i'm actually more like a ghost on here, sooo lol idk, i did think about it but I don't know if I'd be able to post somewhat regularly. it's def something i'd have to think about. (and if i'll create a luigi blog ofc i'll tell you!!)

and i get what you mean, sometimes i open reddit because I hate to say it but everyone's pretty active on there and there's a lot of discussion and I'm not american, so I get to see what they think and how things work there. but sometimes, when reading comments i just get so mad because very few people seem to be in the right mind on there. they're either delusional and sound like little kids or they're people supposedly supporting him but are haters in disguise imo. sometimes i just feel like telling everybody to stfu lol

but honestly, what are we supposed to do? contributing like we can and trying to educate/make people think it's all we can do rn. couldn't even bring myself to write him a letter because everything i write sounds awful and at the same time i have so many words of support but i'm afraid it would come off weird sooo… if someone is reading this and can write to save their life please write him supportive words to make up for me lol

yes!!! do tell me about the blog if you make one!!

i open reddit for the exact same reasons and i really dislike reddit for the same reasons you do too. even then, i regret opening the floodgate that is hating on reddit on this blog, because it really distracts people from the issue we're gathered here for. and since i opened the floodgate and flooded my inbox and this blog for days, only i can stop it. so i'm urging you and others to please not shit talk about people shit talking about Luigi, unless that person/group of people are extremely influential and could/are actively trying to sway the jury pool in their favour and effectively tainting the jury. like sure, if a certain nazi canadian speaks about Luigi on twitter again and i haven't said anything about it, tell me. and even if i have, you're free to send me an ask about it. or if NYT comes up with another article shilling for the authorities, i will talk about it and you're welcome to talk about it here too. otherwise i will not be allowing random substackers and rednoters and tiktokers vile opinions to be the main theme of the blog, because that's not what this blog is about.

and to everybody reading this, if possible and if you can write to Luigi and spread a word of support, please do. it'll mean a lot and i'm sure everybody's favourite letter writer would like to continue getting letters and connecting with the outside world the only way he can right now.

[justinspoliticalcorner]

Robert Tait at The Guardian:

Republicans have identified recent college protests against Israel’s war in Gaza as the core of an election campaign narrative of chaos that they hope can be used to sink Joe Biden’s presidency. The approach was bluntly crystallised by Tom Cotton, the Republican senator from Arkansas, in a recent television interview when he mocked the encampments that have sprung up in recent weeks as “little Gazas” and lambasted the president for a perceived failure to unequivocally denounce instances of antisemitism.

“The Democrats have deep philosophical divisions on Israel,” Cotton told ABC’s This Week programme. “That’s why you see all those little Gazas out there on campuses where you see people chanting vile antisemitic slogans … For two weeks, Joe Biden refused to come out and denounce it. That is the 2024 election.” In fact, Biden did condemn antisemitism in a White House statement criticising the protests on 1 May, but also spoke out against Islamophobia and other forms of prejudice. Cotton’s comments followed weeks of turbulence on university campuses across the US that have seen riot police forcibly dismantle pro-Palestinian encampments in widely televised scenes reminiscent of the anti-Vietnam war demonstrations of the 1960s. His labelling of the encampments as “little Gazas” was denounced as dehumanising by some who lauded the protesters for drawing attention to the death toll of Israel’s continuing military offensive in Gaza. While relatively few Americans identify the war in Gaza as a vote-influencer, Republicans are seeking to capitalise on the vocal minority who are expressing discontent over it.

The conservative activist Christopher Rufo spelt out the approach in a recent article on Substack. “This encampment escalation divides the Left, alienates influential supporters, and creates a sense of chaos that will move people against it,” he wrote. “The correct response … is to create the conditions for these protests to flourish in blue [Democratic-run] cities and campuses, while preventing them in red [Republican] cities and campuses.” GOP intent was signalled by the visits of delegations, including Mike Johnson, speaker of the House of Representatives, to Columbia University – centre of the recent protests – and to George Washington University (GWU) in Washington DC, where protesters spray-painted graffiti and draped a Palestinian flag on a statue of the US’s eponymous founding father.

“It’s what the protests say about American political society and culture that the Republicans are trying to pick up on,” said Patrick Murray, director of the polling institute at Monmouth University. “Biden has tried to make this election a referendum on what happened during the Trump administration, with his focus being ‘we don’t want to go back to the chaos of the Trump years.’ That argument can be undercut if people are seeing chaos from college campuses on their TV screens – Republicans are trying to say it’s no more stable and calm under Biden than it was under Trump.” Republicans are also expanding congressional investigations into antisemitism allegations in the protests, an approach that has already reaped political dividends after the presidents of two elite colleges, Harvard and the University of Pennsylvania, were forced to resign following criticism of their testimony in previous hearings.

The right-wing are weaponizing the Gaza Genocide protests on college campuses to create an image that the Democrats are pro-chaos and anti-law and order.

[themollyzone]

for alan

My friend Alan died about a month ago. He was one of the first friends my then-boyfriend Chris ever introduced me to. I was coming from my friend's apartment in Manhattan and I met Chris, Alan and their other friend Matthew at Beauty Bar in Park Slope. It was a freezing winter, the first one I remember really disseminating the term "polar vortex," and I remember I was wearing snow boots and a big lumpy sweater. Not exactly dressed to impress, but I needn't have been worried about impressing anyone. The conversation flowed easily, and I felt included. I remember thinking, "Wow, Chris has such smart and funny friends." Alan was witty and warm. I was charmed by him immediately. Now Beauty Bar is closed, Chris is my husband, Matthew is my dear friend, and Alan is gone. I'm not sure if I've ever felt so old. There are stamps on the narrative that won't wash off now. It's a moment like this when the outer layer of the universe gets peeled back and you see the grinding gears of loss underneath, powering everything in secret the whole time. Soon after I started dating Chris, Alan moved back to California, where he grew up. We saw each other over the years in New York and in LA, and stayed in touch on Twitter. In some ways, I feel like I knew him better online than off — his writing was where I felt like I really was able to understand him fully. He was a writer and a poet. He had a Substack called Take Surface Streets where he'd write about Los Angeles culture and history through the city's geography. He had the sharpest mind and the most unique way of describing things. Chris was saying how it's wild that people might not even know how influential he was. Secretly influential — that's the power of Alan. He's the reason you all use the term "softboy," and the reason brands try and mostly fail to be funny on social media. He was down with the sacred and the profane: he could bust out the most gorgeous prose about some heady and romantic scenario, and then you'd remember his handle was @iluvbutts247.

He cared about people. He cared about people who everyone else had left behind. He fought for those people, literally. There's no other way to describe it: he was one of one. Like, look at this tweet. He just tweeted this out one night:

We had just been emailing about a project of his. He had been publishing these great little pamphlet zines — one of them made it with me from LA to NYC and back here in a box of books, thank god — and he was going to publish a new one, and asked if I wanted to write about music for it. I responded enthusiastically: yes! Actually I just looked at the email and I wrote "YES!!!" That someone like Alan found my words worth printing on real paper...it made my whole week, honestly. I was going to sit down and bang out out the piece the night I found out he had passed. I was going to write a few short blurbs about different local musicians who I had been randomly meeting out and about, because I thought he'd like that: people meeting people, in person, in Los Angeles, city of dreams, musical and otherwise.

It's weird that I feel like I owe him some copy. I thought about writing what I would have written for his zine, but I didn't want the musicians I'd write about getting unwittingly tied up in grief for someone they didn't know. I thought the best thing to do would be to take surface streets, as his newsletter suggested, so I went on a walk from Highland Park over to Glassell Park. For walking music, I first played Elliott Smith, who he wrote about in his newsletter — songs from Figure 8, the first record he made after moving to Los Angeles and the last record that came out when he was alive. Elliott Smith has always been a favorite of mine because he's totally unstuck from time. He'd already been dead for a year by the time I got my hands on XO my freshman year of high school, and his music sounded like it could have been made at any point in time in the past couple of decades. The arrangement on "Junk Bond Trader" is still one of the coolest things I've ever heard, with its layers of sound gracefully bowing to each other before getting out of the way.

Then I thought I'd be silly and play early Red Hot Chili Peppers, enjoying the juvenile funk of some Cali dirtbags with jester's privilege. It's funny how "Los Angeles music" can mean so many different things. Walter Becker from Steely Dan said that LA had a "laboratory-like sterile atmosphere to work in" — spoken like someone who has spent a lot of time riding around in a car, the ultimate sterile atmosphere. Dry AC, carefully calibrated stereo. Once you start walking, you start catching the real vibe of a place. Alan knew that and he celebrated it.

"Out In L.A" banging in my headphones, I turned around at the Glassell Park recreation center, where teenage boys were running dusty laps, and the pool was subdivided into lanes and sparkled sapphire, looking almost drinkable. I admired the Glassellland sign, a new sight to me. When I went home I looked up its origins: an artist named Justin put up the sign three times without permission, and after three teardowns, it finally stuck, with the help of a little local politicking that shepherded its status from "vandalism" to "public art." Ain't that just the way, I thought, smoking an imaginary cigarette.

It was hot, 85 degrees, with perfunctory sunshine curated by the "Visit California" tourism organization. Cold in New York, hot in LA. We were going to hang out when he came back to the city. "cannot wait for you to return and show us ur fave sights" was what I had emailed him. I'm honestly just lucky that he left a paper trail, and now I can follow it on my own.

When someone dies, especially someone young, you often hear some version of the sentiment of "I wish I had told them I loved them more," or "I wish I had told them what they meant to me." I understand this feeling, of course. It is only natural to want to go back in time and express your adoration to someone who's no longer here, and one of life's silliest jokes on human beings is the essential impossibility of communicating the entirety of your emotions to others: saying exactly what you mean, hoping they precisely understand.

And I can even look at our tweet history and see the times when I did tell him I cared about him, which is a strange gift of modernity: receipts. The nuance and near-misses and unsaid stuff, though — that's the friction that keeps everything humming. That's where the poetry is, painful as it may be. And I believe that when you think of someone after they've left this earth, they can feel it, wherever they are. And I believe that just thinking of them and remembering them will honor them, and will let them know, on some kind of quantum, cosmic-dust level, what you didn't say enough when they were alive. I believe that, because I simply have to. Alan, I'm going to remember you forever, I'm going to be reminded of you forever, I'm going to tell everyone I know about how cool you were for the rest of my life. Every time I see someone post about how sad they are that you are gone, it makes me sad but it makes me happy too, because that's another person on my team: Team Alan. Another person who gets it. I hope you are resting easy now.

To close out, I'm reprinting a bit of a post he wrote on Take Surface Streets back in February of this year about addiction, and deaths by overdose. It seems right to repeat what he wrote as I'm writing about his own passing, and if you read this, I hope you take his words with you — like everything else he wrote, they are true, and they are on fire.

When we lose a brother or sister in this community it is so often silent and secret. The cause of death isn’t mentioned right away, not in the news or the Instagram post captions. There is an ask of respect for the family’s grief. Of course! And then later we find out. Like it was some dark shame that should be hidden and snuffed out from community knowledge. But part of harm reduction is destigmatization. Not bullshit platitudes like “check in on your friends,” but screaming out loud: if you are a drug user, if you are shutting down your depression with opiates or anything else, I will help you. I will accept you and love you. Carry Narcan and carry hope. I don’t mean to sound like a sappy son-of-a-bitch, but we will hold each other when no one else will. The silence we seek in quieting our awful thoughts is the only silence that should be struck out when one of us dies. None of us are alone—and the culture of cutting out this part of our lives abandons those in need.

I won't be a party to it.

[mattdreamstuff]

The Unseen Work Behind My 1st Short Movie: AI Trials, Budget Limits, and Unused Visuals

Bringing Blue to life was a journey shaped by experimentation. This wasn’t just about making a short film—it was about learning, pushing boundaries, and figuring out how to bend AI to my vision rather than the other way around.

A significant part of the process was mastering Midjourney and prompting. Generating images wasn’t as simple as typing a phrase; it required an understanding of how the AI interpreted language, structure, detail, and especially images. I had to adapt, refine, and experiment constantly to get closer to what I had in mind.

The inspirations behind Blue are numerous. Every frame carries weight, influenced by an array of references—literature, storytelling techniques, cinematographic styles, color theory, iconic film quotes, and even fashion. Yes, fashion. Every detail is deliberate, an echo of something influential.

But creating Blue wasn’t just a creative challenge—it was also a financial one. Budget constraints forced compromises. Even AI has its price; every rendered credit spent was a calculated decision. Depending on the budget you have you sacrifice stylistic choices and scenes, even if this happen on a very small scale in a one-week process.

Then came the real struggle: balancing my vision with what AI could depict without triggering its built-in censorship. The negotiation was constant—how far could I push before hitting the wall of moderation? Where the AI drew a hard line, I had to either rework my prompts or find ways to represent the raw intensity I refused to dilute. I also was able to come out with some ghastly scenes but rendering them in a way that had enough resolution to fit in a short movie was a challenge that I decided to skip for this time.

In the end, Blue exists as a delicate equilibrium between what I imagined, what AI allowed, and what I refused to compromise on. In the next post, I will leave there all the "director cuts" and unseen scenes. Stuff that I will probably use in further works and ideas. Meanwhile, you can watch Blue, here. ================================================ If you enjoy dark storytelling, horror, and surreal visions, here’s where you can find me: 📺 YouTube - @mattdreams85 🎥 TikTok - @mattdreamstuff_ 🎭 Patreon - patreon.com/mattdreams 📖 Substack - mattdreams.substack.com 📸 Instagram - @mattdreamstuff 🌙 Tumblr -  mattdreams.tumblr.com

[joemuggs]

How To....

A couple of years back on Twitter, someone was asking me if I had practical tips for anyone who wanted to start music reviewing – as I started to reply I realised they’d be worth saving so I posted them as a thread. Now I’m deleting my Twitter archive I thought I’d save a few highlights, including this. And then this week I did a lecture for some music industry students, and added a few bits to it that cropped up in the conversations with them. So here you go!

The main answer is: do some of your own reviews on a blog, Substack, YouTube, even TikTok for a bit – or if you can find something like a local listings site or uni magazine that will take a couple even better. If you are then contacting editors of bigger mags, that’s a really great showcase: however small or amateur the platform is, you have at least been published. This is also something you can send to PRs to get press tickets or pre-release copies of records. 

I know we're supposed to say “never write for free” but I think fundamentalism on “that issue sometimes puts people off getting started. Obviously it's bad if it's a company that could afford to pay but doesn't, but community / fanzine / college mags etc are great places to cut your teeth and though it’s become a dirty word “exposure” genuinely is valuable if you’re trying to get a foot on the ladder.

Then track down reviews editors for publications, and email suggesting upcoming records you're interested in with a VERY SHORT precis of why they're interesting at this specific time for this specific publication, and including link to your already-published stuff, whether on your own blog or another publication. Don't send a generic pitch to everyone, but one for each publication showing you understand their specific angles, house style and requirements. 

Don't expect a reply but don't take no reply as a “no”, either. Feel free to give a nudge a week later, but don't hassle repeatedly. Rather, if you don't hear back after a reminder, again it's not a “no” – again, editors are always swamped and may not even have seen it – but move on, and try another pitch another time, when you've got a really good one.

All of this is something you’ll have to repeat throughout your working life, no matter how established you get. Pitches WILL get ignored, that’s just life, and it is not a reflection on you. You need to develop thick skin on that. This is tough, writers are very prone to rejection sensitivity. But persistence and repetition will get you partially used to it... eventually. 

Style is a whole other subject really – there are lots of basics like “say what you see”, “don't write it if you wouldn't say it”, “use fewer adjectives” etc (and really, take these to heart) – but the ideas and understanding are more important. If you have sharp or original understanding of the records you’re talking about, AND show you understand the particular publication and its ethos too, a good editor should clock that, and be forgiving of, or willing to work with, stylistic quirks.

Sometimes it'll take a lot of pitches for them to notice, so persistence is good, but don't oversell yourself. Just have good ideas. And LISTEN TO THE MUSIC. Each time you write or pitch a review, start with what you’re hearing, not your preconceptions of the artist, genre or context. This is also an important thing to cultivate in terms of not getting jaded: if you privilege the experience of listening to music over your own theoretical framework or assumptions, it will keep you in touch with what you loved about it in the first place, and stop you going round in ever decreasing circles creatively.

And one annoying but important one: don't get bitter. People will always leapfrog ahead of you based on having more privilege and connections; there will always be people in influential positions who fail to register your potential. It's good and right to note that, be angered by it, and sometimes call it out. But don't let it eat away at YOU or taint your view of the value of good media and the value of what you do. 

Talk to other freelancers, mostly they're v supportive and there are at least as many ppl who'll actively help you deal with those iniquities as there are who perpetrate them. Even aside from that, chance plays a huge part. All the stars can align and yet it “never quite gets going, then at other times something seemingly inconsequential can be a massive breakthrough. 

It took me a good decade from getting byline in national publication to being more-or-less full time in writing and music, and the industry was considerably more forgiving back then. You have to constantly work on having faith on yourself, and just relentless, repetitive graft, to get anywhere and often it feels like it's for nothing.

But again it comes back to your ideas. Is your engagement with the subject for real: do you have something you want to communicate about it, and will you enjoy the often tiring and mundane process of hammering that idea into a clear and concise form? If so, hang onto that core thing and it'll get you through a lot.

And this relates back to being clear about your motives and not getting jaded: if you are serious about the craft, time spent writing and/or pitching is never time wasted. Opportunities may be fewer now but if you care about music (or indeed whatever your chosen topic) and about communicating then honing that craft by repetition, learning the difference between having something to say and just showboating, learning to take criticism, developing ideas over time etc: all these things are valuable personally, valuable as a growing writer, and transferable to the workplace, academia etc.

[pepeleads]

**Instagram Post Description:**

📬 **How Brands Are Finding Engaged, Niche Audiences on Substack** 📬

Looking to connect with a highly engaged, niche audience? Substack is the secret weapon for brands to tap into a targeted community and build deep, meaningful relationships. Here's how it's changing the marketing game:

1️⃣ **Direct Connection with Readers**: Substack allows brands to create their own newsletters, offering direct access to readers who already trust and value the content.

2️⃣ **Highly Targeted Audiences**: With niche newsletters, you can reach specific audiences who are genuinely interested in your product or service.

3️⃣ **Content-Driven Marketing**: Instead of interrupting feeds with ads, brands are offering valuable content that resonates with subscribers, making marketing feel more organic.

4️⃣ **Building Long-Term Loyalty**: Regular engagement through newsletters cultivates trust, turning casual readers into loyal customers.

5️⃣ **Exclusive Partnerships**: Brands can collaborate with influential Substack writers to reach their already engaged subscriber base.

✨ The power of newsletter marketing on Substack is real. It's all about meaningful content, strong relationships, and building a community that feels personally connected to your brand.

Start leveraging Substack to grow your brand’s reach and influence! 💌🚀

#SubstackMarketing #NewsletterMarketing #BrandBuilding #NicheAudience #ContentMarketing #DirectMarketing #EngagedAudience

[covid-safer-hotties]

Trump-RFK Jr. alliance resurrects debate over COVID restrictions, vaccine skepticism in 2024 campaign - Published Sept 1, 2024

WASHINGTON — In securing Robert F. Kennedy Jr.’s endorsement, Donald Trump gained an ally who could steer him crucial votes by providing cover on some of the themes that defined Kennedy’s campaign: distrust of the COVID vaccine, opposition to government mandates, and lingering outrage over the handling of the pandemic.

With the 2024 presidential election set to be decided by razor-thin margins in a handful of states, Trump and his team are betting that winning over Kennedy supporters — many of whom deeply distrust Trump, whose Operation Warp Speed initiative launched the COVID vaccines — could help push them to victory.

Already, Trump surrogates are spelling out how Kennedy’s backing could boost the campaign. “RFK brings a special subset to the campaign,” said Corey Lewandowski, a Trump 2024 senior adviser, on MSNBC Wednesday night. “Those moms and women, 25 to 40 years old, who are concerned about their children, and the vaccines and the food they’re being ingested … are coming now to the Trump campaign disproportionately because they support the belief that RFK is going to help fix that problem going forward.”

Influential pro-Trump activists such as Charlie Kirk, meanwhile, have reposted several accounts of Kennedy supporters announcing their intent to vote for Trump.

In his first appearance with Kennedy last week in Arizona, Trump promised to work with him as president to establish a “panel of top experts” to investigate chronic health problems and childhood diseases — many of which Kennedy has long insisted are caused by vaccines.

This bargain, however, could easily backfire on Trump, and not only because his alliance with Kennedy tethers him to a broad range of fringe views. Democrats are confident that most voters will reject a Trump campaign infused with Kennedy rhetoric on COVID and vaccines — and, more to the point, will resent having to revisit a pandemic that most would love to leave behind.

“The sentiment of most voters in Michigan is, we want to move on, we don’t want to re-litigate 2020 or COVID-19,” said Mallory McMorrow, a Democratic state senator from Michigan, where violent backlash to COVID safety measures sparked a foiled right-wing militia plot to kidnap and assassinate Governor Gretchen Whitmer.

In any event, Kennedy’s place as a factor in the 2024 election ensures that more than four years removed from the onset of the pandemic, a small but vocal faction is poised to re-inject COVID fixations back into the political arena — and potentially a second Trump administration.

Kennedy’s supporters are hoping so.

“As Kennedy pounds away at the news cycle campaigning with Trump, every interview will further solidify the promises Trump has made to Kennedy,” Michael Kane, who founded a group for teachers opposed to vaccine mandates, wrote in an article on Substack.

The prospect of a general election filled with Kennedy and top Republicans campaigning on vaccine skepticism has public health advocates alarmed. And they are downright frightened that Kennedy could wind up with significant power if Trump wins.

Heading into this election season, anti-vaccine and COVID-skeptic energy was “softening,” said Lawrence Gostin, a professor at Georgetown University Law Center in Washington, D.C., who specializes in public health.

“The embrace of these two political leaders will just amp up all the anti-vaccine sentiment … the implicit promise of putting [Kennedy] in a senior position in the administration shows that anti-vaccination is coming from the fringes into the halls of power,” Gostin said. “This is a perfect storm.”

Asked about the impact of Kennedy’s endorsement, Trump campaign senior adviser Brian Hughes said Trump’s “broad coalition of supporters” is expanding “across partisan lines.”

“While Kamala Harris doubles down on her ‘values’ to open our border to migrant criminals and enact Venezuela-style price controls, we look forward to expanding President Trump’s ‘big tent campaign’ with these powerful voices on the team as we work to restore America’s greatness,” said Hughes.

Kennedy did not respond to requests for comment.

Kennedy has long leveraged his famous name to cast doubt on the safety and effectiveness of vaccines and mandates, even for common childhood vaccines for diseases such as polio and measles.

Kennedy disputed the notion that he was anti-vaccine during his presidential run, recasting his lifelong advocacy as a quest for “medical freedom” to reject mandates. But his campaign became a magnet for COVID vaccine skeptics and those still consumed with anger toward figures such as Anthony Fauci, the lead federal pandemic specialist.

As recently as May, Kennedy was attacking Trump over his handling of the pandemic as president. “With lockdowns, mass mandates, the travel restrictions, President Trump presided over the greatest restriction on individual liberties this country has ever known,” Kennedy said at the Libertarian Party convention.

In the wake of that pressure, Trump had dialed up his rhetoric on the subject, saying at a conservative conference in July that he would “not give one penny to any school that has a vaccine mandate or a mask mandate” if re-elected.

Since Kennedy endorsed Trump, top Republicans have been forced to publicly answer for Kennedy’s positions on vaccines and the pandemic. Largely, they have defended them.

When Senator JD Vance of Ohio, Trump’s running mate, was asked on NBC’s “Meet the Press” about Kennedy’s endorsement, he said he didn’t agree with Kennedy on everything. But Vance instead condemned the COVID-era masking of young children, claiming “we knew it caused developmental disabilities.” (That assertion was not widely researched during the height of the pandemic; scientific studies have remained inconclusive on the topic.)

Vance added that if officials had listened to voices like Kennedy, “I think our kids would have been much better off in the wake of the pandemic.”

In 2022, many Republicans who put COVID backlash at the center of their campaigns fared poorly, particularly those who challenged governors who were in charge of their states’ pandemic responses. In the 2024 GOP primary, Governor Ron DeSantis of Florida sought to outflank Trump on the pandemic, betting that most right-wing voters would follow him; they didn’t.

Democratic campaign organizations said they plan to tie Kennedy and Trump together in the eyes of voters.

“When RFK Jr. talks about ‘children’s health’ what he’s really talking about are his anti-vaxx positions, including casting doubt on [measles, mumps, and rubella] and polio vaccines,” said Matt Corridoni, a Democratic National Committee spokesperson. “We’re going to hold Trump’s feet to the fire on his embrace of RFK Jr. and these extreme positions.”

For the thousands of Kennedy supporters motivated primarily by his stances on vaccines, however, their support is far from assured. In fact, many of them may only vote for Trump if he does something that is sure to inflame anti-vaccine sentiment: condemn his own administration’s historic effort to develop the COVID vaccines.

Before Kennedy endorsed Trump, his running mate, Nicole Shanahan, said on a podcast that “the hesitation we have right now in joining forces with Trump is that he has not apologized or publicly come out and said Operation Warp Speed was his fault.”

Kane, the cofounder of Teachers for Choice, expressed doubt that any such admission was coming.

“Many Kennedy supporters won’t vote for Trump unless he admits OPERATION WARP SPEED was a dangerous failure,” he wrote. “It was a dangerous failure. But Trump will never admit that; and certainly never before November 5th.”

[darkmaga-returns]

Let’s cut the BS. You all know about my devastating critique, published in a peer-reviewed medical journal, of the hugely influential Watson et al study, arguably the most influential scientific study of recent years, which claimed that the COVID-19 vaccines saved tens of millions of lives in just 1 year - and the FDA and US government now know about it as well. It’s time to take some serious action. No more defeatist soy boy crap about how nothing ever gets done, get off your ass and start getting it done. If I can do the things I have done, with no funding, no support (including from those on ‘our side’, particularly in my own country), and while suffering due to my various persecutions, y’all can do something too. If I sound pissed, yeah, you all should be too.

Although my refutation of Watson et al has not gone viral per se it has reached over 100k views on X, and 10k views on Substack. It has been liked and shared by people such as Dr Robert Malone, Dr Peter McCullough, and Steve Kirsch. It has been shared by Senator Malcolm Roberts of Australia (but for some reason not yet by US Senator Ron Johnson who effectively got me to do this analysis), and there are rumblings that Infowars might cover it. And no-one has refuted it. There’s the usual questioning over my qualifications and the size of the journal, but nobody has been able to explain what I got wrong about Watson et al. In any case, whatever happens now enough powerful people and organisations know about it. And that includes the FDA and the US government. I notified them directly and they published the links online for all the world to see (forgive the typo, I went to Washington in 2024). Source.

[grin4987]

Best ways to understand the Creator Economy

The Creator Economy has emerged as a significant cultural and economic force, driven by individuals who monetize their passions and expertise through digital platforms. Understanding this rapidly evolving sector involves exploring its foundations, the tools and platforms that support it, the diverse revenue streams, and the community dynamics that fuel its growth. Here are some of the best ways to comprehend the intricacies of the Creator Economy:

Understanding the Foundations

The Creator Economy is built on the democratization of content creation. With the advent of social media, blogging platforms, video-sharing sites, and digital marketplaces, anyone with internet access can create and distribute content. This shift has transformed consumers into creators, allowing them to build personal brands and engage directly with audiences. To understand this, one must recognize the historical context: from the early days of YouTube and blogging to the rise of influencers on Instagram and TikTok.

Platforms and Tools

Several platforms are pivotal to the Creator Economy. YouTube, Instagram, TikTok, Patreon, Substack, and Twitch are among the most influential, each offering unique ways for creators to reach audiences and monetize their content.

YouTube: Primarily a video-sharing platform, it allows creators to earn through ad revenue, sponsorships, and direct audience support via memberships and super chats.

Instagram and TikTok: These platforms focus on visual and short-form content, where creators can monetize through brand partnerships, sponsored posts, and merchandise sales.

Patreon and Substack: These platforms support creators through subscription models, enabling them to offer exclusive content to paying subscribers.

Twitch: Known for live streaming, especially in gaming, it offers various monetization options like subscriptions, donations, and ad revenue.

Understanding these platforms' algorithms, audience engagement strategies, and monetization options is crucial for grasping how creators thrive in this economy.

Diverse Revenue Streams

Creators in the Creator Economy leverage multiple income sources, often combining several to maximize earnings. Key revenue streams include:

Ad Revenue: Platforms like YouTube share ad revenue with creators based on views and engagement.

Sponsorships and Brand Deals: Many creators partner with brands for sponsored content, which can be highly lucrative.

Crowdfunding and Subscriptions: Platforms like Patreon allow fans to support creators directly through recurring payments.

Merchandising: Selling branded merchandise is a common way for creators to monetize their personal brands.

Affiliate Marketing: Creators earn commissions by promoting products and services through affiliate links.

Understanding these revenue streams helps in recognizing how creators sustain themselves and grow their ventures.

Community and Audience Engagement

At the heart of the Creator Economy is community engagement. Successful creators build strong, loyal communities around their content. They interact with their audiences through comments, live streams, social media, and even offline events. This engagement fosters a sense of belonging and loyalty, which is essential for sustained success. Understanding the nuances of community building and audience engagement—such as the importance of authenticity, consistency, and responsiveness—can provide deep insights into the Creator Economy.

Analytics and Data

Data-driven decision-making is a hallmark of successful creators. Platforms provide a wealth of analytics, from demographic information to engagement metrics. Creators use this data to refine their content strategies, optimize posting times, and understand audience preferences. Familiarizing oneself with these analytics tools and the insights they offer is critical for understanding how creators grow and adapt in the digital landscape.

Education and Skill Development

Creators often wear many hats, acting as content producers, marketers, business managers, and community moderators. Continuous learning and skill development are essential. Understanding the educational resources available—from online courses and tutorials to creator academies offered by platforms like YouTube—can shed light on how creators stay ahead in a competitive environment.

Case Studies and Success Stories

Examining the journeys of successful creators can provide valuable lessons. Case studies highlight best practices, innovative strategies, and the challenges faced along the way. Whether it's a YouTuber who grew from zero to millions of subscribers, or a writer who turned a Substack newsletter into a full-time career, these stories offer practical insights into what works and what doesn’t in the Creator Economy.

Conclusion

Understanding the Creator Economy involves delving into its foundations, the platforms that enable it, the various monetization strategies, and the community dynamics that drive it. By examining these aspects, one gains a comprehensive view of how creators build and sustain their digital enterprises, making it clear that the Creator Economy is a complex, multifaceted phenomenon with immense potential for those who navigate it effectively.

[charlotteswebbbbb]

What's the vibe? #26

News

Train strikes in July - 20, 22, 29

14 day heatwaves in July?

10 years of PC Music - "After a decade of activity, 2023 will be PC Music’s final year of new releases. Following that, the label will be dedicated to archival projects and special reissues"

100 minute mix by them! Quite influential as these group of people defined hyper pop

Venice Biennale 2024 theme: Foreigners Everywhere. It is from from 20 April to 24 November 2024 (pre-opening 17, 18, 19 April) at the Giardini, the Arsenale and various venues in Venice.

sorry, did you know Gucci does cocktails?

Jacquemus SS24 - inspired by Princess Di in Versaille

Beauty

some of this is the amazing work of Athena Paginton :)

Tweets of the week:

Reading List:

Why Gen Zers are looking to Europe to achieve their American dream (insider)

Gregg Araki: ‘It’s disconcerting how topical The Doom Generation is’ (Dazed)

Weirdo Milano street style (Dazed)

An Album is a Tragedy: Amnesia Scanner & Freeka Tet (032c)

some good Blackbird Spyplanes

(I still feel like them and Throwing Fits are extremely basic in terms of analysis? Like they're hitting the point but not going *in*. Where are the black fashion substackers plssss.)

Is the death of thrifting upon us??

Is Ssense hurting the cool-clothes ecosystem?

Burn the junk your past selves left behind (King Krule interview - also King Krule is leaning into fashion verticals this album cycle, prob a signal of one, his stateliness and two, there's no money left in music/music press/or interesting enough music press!)

Please also read the new issues of Vestoj, Kaleidoscope, Capsule and Dazed. Thank you!

[utilitymonstermash]

Is Unqualified Reservations: Vol I ISBN 978-1959403005 a book? Are Great Expectations and The Count of Monte Cristo books (cohesive serials)? Is Hamlet a book (the script to a live play)? Is On the Origin of Species a book (expanded and refactored from lectures, letters, papers, and articles)? Is Plato’s Republic a book (debated history of publication, but decidedly not originally a codex)? Is the Odyssey a book (oral tradition epic poem)? Is “The Good Book” itself, The Bible a book (old testament is a vowelless mish-mash cobbled together over hundreds of years, and the new testament has its own complicated authorship and assembly drama)?

In so far as I have had any formal study of these (high school or lower level undergrad), we typically spent one reading assignment / less than one class talking about the compilation of the work, and basically treated it as a work. We’re just watching the process happen in real time, rather than the having the finished work be part of the world we entered into.

I don’t think Yarvin still subscribes to the political program outlined in UR (there’s a reason the compilation didn’t pick “Patchwork”). If I recall correctly, he quite explicitly says his opinions have evolved from UR in Gray Mirror. I think he still endorses the vast majority of the contemporary observation and commentary in it. That contributes to him re-writing it a endeavor.

Yet Unqualified Reservations was quite influential. Keeperman (L0m3z) and his team at Passage Press have done their best to distill the influential blog series into a coherent and definitive testament.

Is Curtis Yarvin of the 2020s post his departure from Tlon (Urbit) less interested in “doing philosophy” (or even playing with interesting ideas) than cocktail parties, rubbing elbows, and doing interviews where he drops the same tired “knowledge bombs” over and over again? Absolutely.

Yarvin’s five part “Clear Pill” series for American Mind magazine died after the first part. The Gray Mirror substack series really lost momentum and at times seemed more like a running annoucement of his appearences list. Even so there are still some gems in both.

Undeniably Yarvin has learned to enjoy his fame and become lazy in it. Same with George R R Martin. Martin’s still a “writer.” Was old man Foucault more interested in bath house antics than ideas? Probably, doesn’t mean he wasn’t a philosopher.

Another catch is (at least I think) people who’ve done actual interesting philosophy, are mostly hashing it out in real time in letters, lectures, short articles, and debates. The “tomers” seem like a handful of academics with interesting ideas and a lot of less interesting folks who are invested in the idea of being philosophers. Some of the realtime innovators circle back and tomify. Many don’t. Who’s going to ask Diogenes to write to their standards.

I don’t think dropping off the grid and coming back in three years with a tome of political philosophy would be a good investment for him. I think he does better with the realtime feedback.

I don’t think Yarvin has any obligation to condense his ouerve into a single statement to stand by until his death and to be binarily ruled “correct” or “incorrect”. Nor would this exercise make sense. It’s not a single proposition. It’s a corpus of thought that has evolved in real time with the culture.

The question has the same energy as “Nicolas Cage: Good or Bad?” from Community.

Is Houellebecq right or wrong? Is Neitzche right or wrong? I think they both had (or have) some interesting ideas, some bad ideas, and some ideas that that didn’t quite pan out (that gestured at something real, but weren’t the right distillation).

Is Yarvin right? He’s right about some things, wrong about others. Are “An Open Letter to Open Minded Progressives” and “How Dawkins Got Pwned” correct. In supermajority, yeah I think each is. (Are they the whole story? of course not.) Okay, they’re both right so now what? Is patchwork the answer? Probably not. How about rusticating bureaucrats into artisan cobblers? Getting colder. What is the answer? Hell if I know.

Apparently, Dark Hipster Curling Yarvint has not actually written a book.

[medallionxln]

Colonel: But maybe we weren’t meant to meddle... with that ultimate power.

Doctor: You mean... the power of a God?

- Akira (1988)

Anime has always played an influential role in popular culture. Akira (1988) introduced a barrage of recurring visual themes that to this day makes its way into pop culture mediums. Every time you see a rendition of the side view of a motorcycle sliding to a screeching to a halt, that’s from Akira. Kanye West’s Stronger music video is a retelling of the Akira movie released 2 decades earlier. I could go on and on naming anime references in the mainstream but that deserves its own article that I’m sure someone else already wrote. My focus is on the anime sub genre called Isekai. Isekai is when the main character travels to another world and plays a role in shaping a major event. Popular Isekai include Inuyasha, Sword Art Online, Digimon Adventure, That Time I Got Reincarnated As A Slime, Re: Zero and Is it wrong to try and pick up girls in a dungeon. The amount of world building that these Isekai do is truly astounding. From rethinking that world’s financial system to mapping out complex political allegiances to defining power scaling schemes and having our modern world as a backdrop for comparison. Japanese Isekai lays the groundwork on how to build interesting and complex worlds in the metaverse.

Isekai is important to consider because many brands will represent themselves in the metaverse the same as on a website. They will post static images and text as the bare minimum. That strategy misses the point. The metaverse is more than upgrading a website to a 3D space. Similar to an Isekai, a brand’s metaverse needs to provide roles, activities, environments and incentive structures that create intrigue and excitement around interacting in that world. Similar to Subaru Natsuki arriving to the world of Re:Zero and failing his way throughout a world full of magic, assassins and witch cults. A brand’s metaverse should represent a unique interaction between the user and the brand.

When a user arrives to a brand’s metaverse, there needs to be a sense of adventure and discovery. Hidden mechanics the user discovers by exploring that world. If the brand’s metaverse sells products then create a merchant NPC with an interesting backstory. Feature an area where consumers of the product are rewarded with a greater rank for the more products they own. Have a location where high rank users can converse. Don’t just have a metaverse that exist simply to say that brand has a presence in the metaverse but go the extra mile and provide those engaging experiences similar to the ones you can find in an Isekai.

I can’t hide my excitement of living in a time period where it is possible to interact with some of my favorite anime as metaverse worlds. Obviously I have a list of all the anime worlds I can’t wait to visit and interact in. The first is of course my favorite anime of all time, Rurouni Kenshin or Samurai X to western audiences. Experiencing the Meiji Reconstruction Era where participants role play as Emperors, masterless Samurai, Ninjas and outlaws is such an interesting concept. This concept will also lead to more metaverse worlds that tell the history of particular countries in a certain time period. The second anime world I would love to visit in the metaverse is Gundam UC timeline. Just imagine being a Federation pilot climbing into a Gundam suit then facing off against the Red Comet himself Char Aznabel as he insults you as only he can. I can go on and on but I prefer to just introduce the concept of living in your favorite anime world in an attempt to expand our expectations of the metaverse.

Follow Medallion XLN for more commentary on the Metaverse, Blockchain & NFTs.

Twitter: https://twitter.com/MedallionXln

Facebook: https://www.facebook.com/medallionxln/

Discord: https://discord.gg/NgT9Jdxy

Substack: https://medallionxln.substack.com/publish

LinkedIn: https://www.linkedin.com/company/medallion-xln

#anime #isekai #rezero #blockchain #VR #metaverse