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sexymemecoin · 3 months
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The Rise of DeFi: Revolutionizing the Financial Landscape
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Decentralized Finance (DeFi) has emerged as one of the most transformative sectors within the cryptocurrency industry. By leveraging blockchain technology, DeFi aims to recreate and improve upon traditional financial systems, offering a more inclusive, transparent, and efficient financial ecosystem. This article explores the fundamental aspects of DeFi, its key components, benefits, challenges, and notable projects, including a brief mention of Sexy Meme Coin.
What is DeFi?
DeFi stands for Decentralized Finance, a movement that utilizes blockchain technology to build an open and permissionless financial system. Unlike traditional financial systems that rely on centralized intermediaries like banks and brokerages, DeFi operates on decentralized networks, allowing users to interact directly with financial services. This decentralization is achieved through smart contracts, which are self-executing contracts with the terms of the agreement directly written into code.
Key Components of DeFi
Decentralized Exchanges (DEXs): DEXs allow users to trade cryptocurrencies directly with one another without the need for a central authority. Platforms like Uniswap, SushiSwap, and PancakeSwap have gained popularity for their ability to provide liquidity and facilitate peer-to-peer trading.
Lending and Borrowing Platforms: DeFi lending platforms like Aave, Compound, and MakerDAO enable users to lend their assets to earn interest or borrow assets by providing collateral. These platforms use smart contracts to automate the lending process, ensuring transparency and efficiency.
Stablecoins: Stablecoins are cryptocurrencies pegged to stable assets like fiat currencies to reduce volatility. They are crucial for DeFi as they provide a stable medium of exchange and store of value. Popular stablecoins include Tether (USDT), USD Coin (USDC), and Dai (DAI).
Yield Farming and Liquidity Mining: Yield farming involves providing liquidity to DeFi protocols in exchange for rewards, often in the form of additional tokens. Liquidity mining is a similar concept where users earn rewards for providing liquidity to specific pools. These practices incentivize participation and enhance liquidity within the DeFi ecosystem.
Insurance Protocols: DeFi insurance protocols like Nexus Mutual and Cover Protocol offer coverage against risks such as smart contract failures and hacks. These platforms aim to provide users with security and peace of mind when engaging with DeFi services.
Benefits of DeFi
Financial Inclusion: DeFi opens up access to financial services for individuals who are unbanked or underbanked, particularly in regions with limited access to traditional banking infrastructure. Anyone with an internet connection can participate in DeFi, democratizing access to financial services.
Transparency and Trust: DeFi operates on public blockchains, providing transparency for all transactions. This transparency reduces the need for trust in intermediaries and allows users to verify and audit transactions independently.
Efficiency and Speed: DeFi eliminates the need for intermediaries, reducing costs and increasing the speed of transactions. Smart contracts automate processes that would typically require manual intervention, enhancing efficiency.
Innovation and Flexibility: The open-source nature of DeFi allows developers to innovate and build new financial products and services. This continuous innovation leads to the creation of diverse and flexible financial instruments.
Challenges Facing DeFi
Security Risks: DeFi platforms are susceptible to hacks, bugs, and vulnerabilities in smart contracts. High-profile incidents, such as the DAO hack and the recent exploits on various DeFi platforms, highlight the need for robust security measures.
Regulatory Uncertainty: The regulatory environment for DeFi is still evolving, with governments and regulators grappling with how to address the unique challenges posed by decentralized financial systems. This uncertainty can impact the growth and adoption of DeFi.
Scalability: DeFi platforms often face scalability issues, particularly on congested blockchain networks like Ethereum. High gas fees and slow transaction times can hinder the user experience and limit the scalability of DeFi applications.
Complexity and Usability: DeFi platforms can be complex and challenging for newcomers to navigate. Improving user interfaces and providing educational resources are crucial for broader adoption.
Notable DeFi Projects
Uniswap (UNI): Uniswap is a leading decentralized exchange that allows users to trade ERC-20 tokens directly from their wallets. Its automated market maker (AMM) model has revolutionized the way liquidity is provided and traded in the DeFi space.
Aave (AAVE): Aave is a decentralized lending and borrowing platform that offers unique features such as flash loans and rate switching. It has become one of the largest and most innovative DeFi protocols.
MakerDAO (MKR): MakerDAO is the protocol behind the Dai stablecoin, a decentralized stablecoin pegged to the US dollar. MakerDAO allows users to create Dai by collateralizing their assets, providing stability and liquidity to the DeFi ecosystem.
Compound (COMP): Compound is another leading DeFi lending platform that enables users to earn interest on their cryptocurrencies or borrow assets against collateral. Its governance token, COMP, allows users to participate in protocol governance.
Sexy Meme Coin (SXYM): While primarily known as a meme coin, Sexy Meme Coin has integrated DeFi features, including a decentralized marketplace for buying, selling, and trading memes as NFTs. This unique blend of humor and finance adds a distinct flavor to the DeFi landscape. Learn more about Sexy Meme Coin at Sexy Meme Coin.
The Future of DeFi
The future of DeFi looks promising, with continuous innovation and growing adoption. As blockchain technology advances and scalability solutions are implemented, DeFi has the potential to disrupt traditional financial systems further. Regulatory clarity and improved security measures will be crucial for the sustainable growth of the DeFi ecosystem.
DeFi is likely to continue attracting attention from both retail and institutional investors, driving further development and integration of decentralized financial services. The flexibility and inclusivity offered by DeFi make it a compelling alternative to traditional finance, paving the way for a more open and accessible financial future.
Conclusion
Decentralized Finance (DeFi) represents a significant shift in the financial landscape, leveraging blockchain technology to create a more inclusive, transparent, and efficient financial system. Despite the challenges, the benefits of DeFi and its continuous innovation make it a transformative force in the world of finance. Notable projects like Uniswap, Aave, and MakerDAO, along with unique contributions from meme coins like Sexy Meme Coin, demonstrate the diverse and dynamic nature of the DeFi ecosystem.
For those interested in exploring the playful and innovative side of DeFi, Sexy Meme Coin offers a unique and entertaining platform. Visit Sexy Meme Coin to learn more and join the community.
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possumcollege · 6 months
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NOBODY needs to be defending these people. Major publishers, studios, streaming services, Tesla, Apple, Adobe, Amazon, social media companies- there isnt a single altruistic bone caught in their teeth. Profit from the output of exploited and captive labor IS their product now. When their contacts look like the one in question, the company is clearly stating that shareholders are the customers, not us!
Why else would it be anything but a stupid idea for Amazon to just nuke the majority of Comixology's self-published titles when they consolidated their services? If our experience was really foremost in their minds, why would they repeatedly purge, censor, demonitize, bury, and delete popular accounts with robust followings if not to allay the moral brainworms of shareholders and investors?
Forfeiting rights to our IP is not a "shitty deal," it's surrendering any potential ability to make money off of your own creative work. It's selling your property to a board of accountants to pitch into a portfolio. It's theirs to trot out as long as it's profitable and bury the instant its projected profit dips too close to the cost of maintenance. Hell, we've seen services drop popular series just because their projected profits started to flatten out! Mothballing it also has the added bonus of removing it from the market to further minimize potential competition. Like how there just weren't spider man movies for ages because the owner of the property didn't think it was worth developing but worth too much to sell.
They will make more money from suing you for trying to reclaim IP they mothballed than you did selling it to them in the first place. I guaranteee their budget for lawsuits is a lot deeper than the one they pay their "original" artists from.
By virtue of being a big, profitable, corporation, "their" IP is going to have an astronomically higher value in a court of law than any individual creator. The financial "damage" will be higher for infringing on their copyrights than any amount you can claim on your own. When it becomes theirs, their connections, their infrastructure, their reputation makes it an asset with much more value than you or I can possibly claim. So if you try to steal a bite back from them it's a bite of a *potentially* multimillion-dollar series. In their eyes, they bought the totality of your work, which you agreed was worth the price they gave you. It's value becomes more dependent on who owns it than whether it's even good.
You may not have the same potential to become flash-in-the-pan, short-term succesful without their resources, but you will still own your rights to distribute, alter, preserve, promote, and negotiate your share if you still own your work. That is worth everything as a creator who is passionate about what you've made and committed to protecting it.
The most effective power we can exercise as artists is our ability to say, "no" when someone else wants to pay us a disadvantageous fraction of our worth. You may lose potentially lucrative opportunities but "opportunities" presented by companies like Facebook or Twitter, whose real product is a platform for ads and data collection, with content as bait, are not opportunities to thrive on as independent artists. This specifically is an opportunity for the company to acquire property.
The myth that the publisher's strength is something for us to exploit, without them getting the lion's share is a trap that they feed from at will.
People like the poster up top are opportunists who see the process as a pipeline towards trading low-investment content for financial treats and maybe a share of ad revive. They're stalking horses for companies to exploit more talented but less experienced artists who are facing a daunting and overwhelming market where their work becomes harder and harder to show, let alone sell. A quick deal may feel like a win but it's selling the cow to save money on bottling the milk. Artists like this serve the publisher by making it seem like signing away your rights are just a necessary part of the game. However it's a game they are playing with exceedingly cheap stakes that weren't going to succeed on their own merit. So what if Mr. Business Perspective loses rights to his sexy Mario Bros. parody to a huge company? The point was always to unload it because it's a product, a bartering chip, a trinket. He's a Business Man, so he sees tactics that maximize profits to the business as maximizing their ability to buy whatever shiny tripe he cranks out. The business is his customer, not the reader. The business is his ally, not the creative community. Fuck him and fuck anyone who tells you the exposure is worth a damn if you don't retain rights to your work.
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mariacallous · 2 months
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Unbox a new phone in the US and it's almost certain to have Google as the default way to search the web. Federal judge Amit Mehta on Monday ruled in favor of the US Department of Justice that the contracts Google uses to secure that position violate fair competition laws. Now Mehta must decide what to do about it.
The jurist could order big changes to the unboxing experience, with users having to select their default search provider. He also could go as far as to force Google to sell parts of its business. Mehta scheduled a hearing for September to begin the process of deciding the penalties, but with Google appealing the verdict, it could be years—if ever—before the search giant must comply.
Though legal and economics experts say it’s difficult to guess where Mehta might land with his remedies, they have some ideas of what he might be considering. Here’s a look at five options.
Ban Revenue Sharing
US courts have generally tried to resolve antitrust violations by ordering an end to the illegal behavior, setting rules to prevent it from recurring, and taking any additional measures needed to ensure that the culprit and its competitors are moved onto an even field.
To satisfy that first prong, Mehta is widely expected to ban Google from continuing with arrangements under which it splits tens of billions of dollars in ad revenue among Apple, Samsung, Mozilla, and other companies that agree to set Google as the default search on their devices or software.
“At a minimum, the Justice Department will ask for an injunction that forbids Google from engaging in the conduct that the court deemed to be improper,” says William Kovacic, who previously served as an antitrust regulator on the US Federal Trade Commission.
An injunction might prevent Google from using its unmatched economic might to outspend smaller search companies, such as Bing, DuckDuckGo, or Ecosia, to secure exclusive default status. Positioning matters; Mehta’s ruling found that even when it’s easy for users to switch defaults, most people don’t adjust the setting. But some do prefer Google. That’s why “Google.com” is the most popular search term on Bing, which is the default on some Microsoft devices, according to Mehta’s ruling.
In the future, users who prefer Google may end up having to query “Google.com” in other search engines, too.
Require Choice Screens
Mehta could follow the lead of the European Union, which for years has required Google to offer a menu of search options on Android devices, and recently expanded the rule to the Chrome browser.
Experts don’t believe the European regulation has led to a significant increase in the popularity of Google alternatives because users recognize Google better than other options. “The horse is already out of the barn,” says Herbert Hovenkamp, an antitrust scholar at Penn Law School who has researched tech platforms. “One problem with free choice is that it won’t necessarily take down Google’s market share.”
But if Mehta pursues the approach, he should make some improvements on the EU’s rules, says Kamyl Bazbaz, senior vice president of public affairs at DuckDuckGo. Users should be prompted with the choice screen periodically, not just once, Bazbaz says. They shouldn’t have to deal with popups from Google urging them to switch the default to Google, he adds. And when users first interact with a competing search app, there should be an easy way to set it as the default app.
With these added measures, some searchers could find themselves more reliably ditching Google. Others could be frustrated by the recurring requests.
Order a Divestiture
Contract bans and choice screens are examples of conduct remedies. But the Justice Department in recent years has expressed a preference for what are known as structural remedies, or breaking off parts of a company.
Most famous is the breakup of telephone giant Bell in the 1980s, creating a variety of independent companies, including AT&T. But courts aren’t always on board. When Microsoft lost an antitrust battle in the 1990s, a federal appeals panel rejected an order to break up the company, and Microsoft eventually settled on a range of conduct changes.
A one-time sale is preferred by regulators in part because it doesn’t require them to invest in monitoring the ongoing compliance of companies in terms of conduct remedies. It’s a much cleaner break, and some antitrust experts contend that structural remedies are more effective.
The challenge is figuring out what parts of a company need to be separated. John Kwoka, an economics professor at Northeastern University who recently served as an adviser to FTC chair Lina Khan, says the key is identifying businesses in which ownership by Google are “distorting its incentives.” He says that, for instance, breaking off search could open the door to Google’s Android partnering with a different search engine.
But Hovenkamp doubts the potential of a search sell-off to increase competition because the service would remain popular. “Selling Google Search would just transfer the dominance to another firm,” he says. “I don't know what sort of breakup would work.”
Some financial analysts who study Google parent Alphabet are also skeptical. “Alphabet's scale, continued strong execution, and financial strength mitigate this legal risk and the possible ensuing financial and business model ramifications,” Emile El Nems, vice president for Moody's Ratings, said in a press statement.
Other legal experts envision a future in which search results would come from Google and the ads in the experience from another company that’s spun off from Google. It’s unclear how that remedy would affect users, but it’s possible ads could end up being less relevant and more intrusive.
Force Google to Share
Mehta found in his judgment that Google provides users a superior experience because it receives billions of more queries than any other search engine, and that data fuels improvements to the algorithms that decide which results to show for a particular query.
Rebecca Haw Allensworth, a law professor at Vanderbilt University following the Google case, says one of the most aggressive remedies would be requiring Google to share data or algorithms with its search competition so they too could improve. “Courts do not like to force sharing between rivals like that, but on the other hand, the judge seemed very concerned about how Google’s conduct has deprived its rivals of what they really need to compete—scale in search data,” she says. “Forcing data sharing would directly address that concern.”
Potential shareable data could include all the queries that users are running on Google and which results they are clicking, DuckDuckGo’s Bazbaz says.
Another option would have Google hold on to its data while instead providing a service on a nondiscriminatory basis, with adequate customer support, for other apps to pull results from Google and present them to users as part of a competing experience. Rivals have called Google’s existing offering in this regard inadequate.
“Only a multipronged remedy will allow rivals to enter the market and fairly compete for consumers based on the merits of their own product,” says Lee Hepner, senior counsel at the American Economic Liberties Project, an anti-monopoly advocacy group.
Any approach that involves Google sharing data is likely to raise questions about its users’ privacy. Strengthened rivals also would have a better shot at securing defaults, meaning those who’d rather use Google would again have to take a few more steps to get back to regular old Google.
Increase Oversight
It’s up to the Justice Department to propose to Mehta potential remedies, which Google would then get a chance to rebut. Neither side has previewed what it wants.
In some other antitrust battles, Google has found ways to design product and policy changes to continue to limit competition in part by making competing unaffordable for rivals. “Google will do anything it can to get in the way of progress,” Bazbaz says. That’s why he hopes Mehta establishes a monitoring body to administer the remedies and hold Google to their spirit.
Bazbaz also wants to see Google have to invest in public education initiatives to let users know about the benefits they can get from switching search engines. With oversight and PR measures in place, users may have no choice but to hear about the Google Search antitrust case for a long time to come.
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brandonmillman · 7 months
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Create Openbook Market ID - Raydium Market ID 0.23 SOL
What is an Openbook Market ID?
Raydium.io, one of the most popular DeFi platforms on the Solana network, requires you to create an "Openbook Market ID" to list and trade your token project on the platform. OpenBook is a decentralized and open-source tool of the Serum V3 program on Solana. Creating an Openbook Market ID is mandatory to list on DeFi platforms such as Raydium.io.
0.23 Creating a Market ID in exchange for SOL
The cost of creating a Market ID on Raydium.io is usually around "3 SOL". However, through Openbookgui.com, one of the platforms that supports Openbookv2, you can create a 100% compatible market ID for only 0.23 SOL. With this method, you can create a market ID that is fully compatible with Serum V3 liquidity. You can access the Openbookgui.com website via the following link https://www.openbookgui.com/
Note: On platforms like Dexlab, it is strongly discouraged to try to reduce the fee by changing the "Length" values. This is the wrong approach and can lead to errors in Serum V3 liquidity. As a result of these errors, users may encounter frequent errors in trading, which will seriously damage your project's reputation. I have made the video below for you to better understand all the steps and to see how easy the process is.
Steps to Create Openbook Market ID
First, go to https://www.openbookgui.com/ and connect your Phantom wallet (Openbook v2 is only supported by Phantom and requires a non-mobile device).
Base Mint: In this field you need to enter your token contract address.
Quote Mint: You do not need to change this field, but you can use USDC or USDT if you wish.
USDC Address: EPjFWdd5AufqSSqeM2qN1xzybapC8G4wEGGkZwyTDt1v
USDT Address: Es9vMFrzaCERmJfrF4H2FYD4KCoNkY11McCe8BenwNYB
Min. Order Size: This is set to "1" by default, but you can customize it if you want by referring to the table below.
Price Tick: This is set to "4" by default, but you can customize it.
You can use the examples below to customize your Tickers settings.
Review all your settings and make sure you have enough (0.23 SOL) in your account, then click the "Create" button to complete the process. Market ID creation takes approximately 15 seconds.
In my next article with more information about Raydium.io liquidity, I will try to explain the topic with simpler explanations and examples. Goodbye for now and good luck!
Openbook-v2: https://github.com/openbook-dex/openbook-v2/blob/master/idl/openbook_v2.json
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chaotic-archaeologist · 8 months
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hi internet bro, You posted Duolingo Yiddish the other day. Are you taking it as a heritage language ? Did you hear it growing up? How do you feel about studying it (in the Duo version of study)
I ask because I am curious about learning the language of my ancestors, but don't have a clear place to use it- whereas my workplace is multilingual and it would be more practical to learn the trade languages I hear every day.
but I still want to help revitalize indigenous languages and culture.
Hey there, thanks for asking!
I'm learning Yiddish because it's the language of my ancestors who fled Russian and Lithuania in the wake of pogroms at the beginning of the 20th century. When they reached American there was a great deal of pressure to assimilate.
One of my great great grandfathers was very proud of his ability to speak English without an accent, something that he associated with his success in starting a business which would later give him the ability to send my grandfather to college, making him the first person to do so. On the 1920 census, that great great grandfather's native language is listed as Jewish, which was sometimes how Yiddish was referred to.
My grandmother grew up in a house with Yiddish speaking parents. They were orthodox, but her father didn't wear a kippah outside of the house because of the pressure to assimilate. Her parents only spoke Yiddish when they didn't want their children to understand what they were saying. As a result, my grandmother never learned.
So I'm learning Yiddish for the same reason I wear a kippah, because my not-so-distant ancestors didn't feel like they could. Because it makes me feel connected to them, who and what they left behind, and the generations of Jews who have kept Yiddish alive both in Europe and diaspora communities. Certainly, it's less "practical" than learning Spanish or Chinese or Arabic or any number of other languages that are more commonly spoken.
But if we only learned languages because they're practical, what happens to the languages that don't make the cut? What happens to the languages that have been deliberately suppressed by colonialism and genocide and assimilation? There are many different reasons to learn a language; practicality is only one of them.
I'll be honest: I'm conflicted about the Duo version of Yiddish. Here's a really good article that explains the debate over the dialect of Yiddish that Duolingo chose to use for their course. The TL;DR is that Duolingo teaches Hasidic Yiddish, a popular dialect but not a universal one. Different dialects result from different communities, and there are political implications for choosing one over the others.
But Duolingo is free, and it's easy for me to spend ten minutes in the evening practicing a few words. It's not the best language learning platform by any means, but it has the language I wanted to learn and it meets my (admittedly simple) needs. After a year or so (and I'm maybe 50% of the way through the course) I find myself able to read simple texts and understand snatches of spoken Yiddish.
I'm also a member of the Yiddish Book Center, which I would totally recommend. They have lots of great resources for learning Yiddish and for interacting with Yiddish culture via literature, oral history, music, art, etc. Most of their programming is in English, and is easily accessible. There are other organizations out there doing great work to support and revitalize Yiddish, this is just the one I'm most familiar with.
(mazel) מאַזל
-Reid
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itsmattchou · 1 year
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all day, i'm thinking about you !
starring: zb1 & some zumblrcord members warnings: jiwoong gets ageshamed (misa core), mentions of eating children, turkish alpha wolf, hanbin is a 'hater', taerae is delulu, cutie yujin, english isn't my first language!!! genre: uhm i have legit no idea. misc? synopsis: in a parallel universe where zb1 are the fans of zumblr… how do they act as fanboys? notes: zumblrcord people love this idea. are you a zb1 too? shoutout to moni @taerrrrrae for the elif evil editing idea! mentioned: elif @jinkiseason ; venom @zerobaseonefics ; irene @itaerae ; tea @teaxeee ; eris @keita-luv ; misa @terazono-keita
ZUMBLR (점브러) is a 9-member project group formed by MNET‘s survival show DELULU PLANET 999. They made their debut on July 4, 2023 with the mini album 'OLD AGE IN THE LIGHT' and the song 'Out Wilted'.
Fandom Name: ZB1 (ZeroBaseOne) Official Merch: a Zumblr mug🤓
kim jiwoong he's not as open about being a zb1 as the other boys. it's more like his secret identity. kim jiwoong at day, zb1 at night, he's basically like batman. he writes a lot of fanfictions but nobody knows about it, he uses a different name on the internet. he's part of the zb1 discord and gets roasted for his age regularly. he likes buying the zumblr albums and loves listening to their music, especially when he's jogging or cleaning his apartment. he's waiting for the day that one of members acts in a kdrama. his bias is elif.
zhang hao he's always uploading covers of zumblr songs. if singing covers, dance covers or violin covers doesn't matter. he uploads them and is fairly popular in the fandom. listens to every song the second a new album drops and is also big on streaming. he's also really into 'drama' surrounding zumblr. he still laughs about the way mnet tried evil editing "RAWRR turkish alpha wolf" elif into making it seem like she eats kids because they didn't want a furry in the line up. elif still made it as P04. hao can't decide for a bias.
sung hanbin he's the most well known zb1. he went viral for 'hating' on zumblr member venom (everybody knows he's utterly in love with her). he also writes fanfictions but he's more open about it. probably cries every night thinking about zumblrs future disbandment. he works in a coffeeshop and makes sure to regularly play zumblr songs in order to promote them further. he has like hundreds of fellow zb1 friends and moots online. he claims that he biases somebody else, but everybody knows that his bias is venom.
seok matthew he's the sweetest fan for real. he streams and votes a lot, he would feel guilty if not. he likes buying the albums and always makes sure to preorder them so he could receive extra benefits. he always has a photocard in his phone case and changes it regularly. he cried while watching the dp999 finale, even though his pick made it. he likes to upload funny videos about zumblr onto youtube (zumblr out of context eg) and has a big following too. his zumblr lightstick is his most beloved possession. his bias is chou, obviously.
kim taerae he's literally the most delulu out of all of them. he might not seem like it, but he definitely is. while hanbin and jiwoong are the ones writing the fanfictions, he's the one who's constantly reading them. he loves covering zumblr songs and uploading his singing onto youtube and tiktok. taerae rewatches delulu planet 999 often and is constantly sad about all the eliminated trainees. he really likes to trade his photocards for no specific reason. he's incredibly bad at voting and streaming though. he is an ot9.
shen ricky he's the kinda stan that owns EVERYTHING. he rich fr. albums? owns every single version of every album. seasons greeting? he has it. merch? best believe he buys every piece possible. concert tickets? he's spoiling himself with vip tickets. he has won multiple phone calls too and every other broke stan is incredibly jealous of him. he's talked to every member so far and literally went viral on multiple platforms for his obsession with zumblr because he posted about it. his bias is irene, as she's just as rich as him.
kim gyuvin he only speaks in zumblr references and has annoyed friends into becoming zb1s too. he runs a meme page / very popular fan page for zumblr. every other zb1 knows him. zumblr has even mentioned him in lives before. he buys every album (but only one version. he's kinda broke.) and decorates his room with some fan articles. he likes learning the dances. he goes to karaoke bars regularly and always puts zumblr songs on, his favorite being 'never', the solo song from chou. gyuvin changes his bias like every single day.
park gunwook he's the friend gyuvin annoyed into becoming a zb1. he started watching delulu planet 999 when it was already too late and almost ending and he really regretted not tuning in earlier. he's a big zb1 now even though his #1 pick (tea) didn't make it. but he's still a bit more chill compared to some other members. he doesn't buy albums because he wants to save up to go to one of their concerts instead. he streams zumblrs music kind of unintentionally as it's always playing on loop while he's his doing homework. he doesn't bias anyone in the group. (missing tea hours)
han yujin he watches all youtube videos about them while he's doing his homework. he once scribbled the zumblr logo on a test sheet and got an extra point because the teacher is also a zb1 (biased). he cries often because the maknae- eris- is younger than him. he likes to do dancing covers and uploads them on tiktok. he always saves up money in order to buy some albums or merch. he reads zumblr fluff whenever he's sad. has won a phone call once and made the member 'fall in love' with him as he's just too cute. his bias is eris.
bonus:
terazono keita really doesn't give a fuck about zumblr. he only cares about misa who sadly didn't make the cut and only placed P12 in the dp999 finals.
lee seunghwan is unemployed. he spends his free time listening to zumblr music.
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glassprism · 10 months
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You've been in the phandom and on tumblr for a while and i've always been curious as to if you have any takes on how it's changed over the years? or perhaps just the overall attitude towards trading has changed? if at all?
I think the changes in attitudes in the phandom and the changes in attitudes towards trading are two separate things (trading overlaps with multiple musicals and all while also having it's own separate shifts), so I'm just going to stick with changes in the phandom!
I will also note that I've only been in the phandom since around 2010, which might seem long to some but doesn't to me, because I know people who have been around at least a decade longer than that. I should also say that even though I interact with the phandom on multiple platforms, I'm not everywhere and I can't read, you know, every forum thread or every post on Tumblr. As such, there will be thinks that I'll miss, as I can only speak to what I personally witnessed on the platforms I was engaged in, because that's what I know best!
With all that said, I'm going to split this into four parts.
Attitudes towards characters. I talked about this to some extent in a recent ask about the role of Christine, but in a general sense, there's been a shift towards appreciating Christine, Raoul, the Persian, Carlotta, and other supporting characters, or at the very least, taking a more complex view of them. This also applies to Erik to a large extent, and I've also seen a trend of seeing him as less the seductive, commanding figure and more love towards him as, I dunno, a weird sewer man. Honestly I could probably devote entire asks to each of these, but suffice to say, way more love for characters other than Erik.
Attitudes towards ships and fic. I put these two together because they're so complementary, though it also ties into the above attitudes towards characters. I think it's safe to say that, just like Erik used to be the most popular character, Erik/Christine was also the most popular ship. But I've definitely seen a large swelling of love for the other ships in the last decade or so: Raoul/Christine of course, but also things like Pharoga (the Persian and the Phantom) and Firdre (Firmin/Andre), Meg/Christine or Carlotta/Christine, and many a crack ship such as Rerik (Raoul/Erik) or Erik/Mirror Bride, Erik/Therapy, or Raoul/Madame Giry (though maybe this is just from one place). OCs (Original Characters) are much more in vogue as well and I feel like people are more willing to accept ships with OCs without deriding them as Mary Sues or author wish fulfillment and what-not. I think E/C will always be the most popular ship but people are much more willing to say that they ship something that's not E/C, or even to say they don't ship it, and to write non-E/C fic without worrying about getting blasted.
Attitudes towards adaptations. Going to be honest, what prompted this was me thinking about the seismic shift in perspective towards Susan Kay's Phantom, namely that it went from "This is better than Leroux!" to "Yikes". But that's only one example of a general pattern of appreciation for other versions besides the ALW musical - Leroux for sure, especially as people start to figure out the differences, sometimes major, between translations, but also towards, say, the Yeston/Kopit musical, the David Staller musical, other film adaptations, even Love Never Dies (which I think people sort of look upon now with a fond, "Oh you, you silly trashfire musical, I love you"). In short, more love for other versions.
Social justice issues. Lastly, I think the phandom has really grown more aware of various issues within and without Phantom and its adaptations. There's a lot to cover, but just to hit a few major changes, I'd say: more discussion about the manipulation, toxicity, and abuse in Erik and Christine's relationship, much more discussion about grooming with regards to aspects of the 2004 movie, more support for racial inclusiveness in show casts as well as where adaptations tend to go wrong (see the gollywog in the ALW musical, the constant erasure of the Persian, Islamophobia and anti-Romani sentiments in various adaptations, etc.), a lot more open discussion of mental illness, ableism, and neurodiversity when it comes to various characters, discussions of characters being LGBT, and lots more. I think a lot of these things were either not discussed or just dismissed in the years before so it's really cool to see people being far more open about all this.
And there's lots, lots more I could talk about, but I'll leave it at those four major categories! Hopefully it gives you at least a broad overview of the evolution of the phandom in the last decade or so!
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from your tags, does that mean you usually don't vote bc there's no real political party for women?
i used to vote for and be active on a communal level in the leftist party until i realised how corrupt the party system is and it starts at the very bottom. its basically pre-decided who is elected internally for the public election and its not about who is best suited its part who is most eloquent (even if there is little to no substance) and who knows who. im not one to rub elbows. and all parties work like that. right now the parties left of far right even the conservatives run on a platform of „vote for us to prevent the far right“ but the people who vote for far right out of frustration and not due to ideological alignment are not pulled by that. the thing about democracy is that if the majority wants a far right government they will vote for it no matter how much you shame them 🤷‍♀️ my vote doesnt matter if im not part of any majority. the party system does not work anymore in my opinion and it shows because all they run on is vague “values”, popularism and shitting on their opponents.
i think real change comes from communal work and protests and movements outside the party system. but if there was a party who actually ran on policies instead of popularism i would consider voting for them, if the policies benefit women. i do vote on the communal/national level and i considered going to the eu elections but since the member nations are sovereign anyways it doesnt really matter. why would i vote to prevent far right when the eu government has let tens of thousands of refugees die and put them in inhumane camps and sent them back to be tortured already? when the eu is spending more and more on the military already? they dont need the far right to be fascist lmao. its fearmongering and hypocrisy. the eu should have always stayed a trade organisation. thats what theyre good at.
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makeste · 11 months
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Just out of pure curiosity, isn't this a horrible way to experience the story lmao?
I'm not saying it's for everyone, but it's worked for me personally so far. more than I would have expected, tbh!
honestly though, this might sound kind of backwards, but a big part of my decision to read these chapters early had more to do with me NOT wanting to be spoiled. let me explain.
I went on hiatus from the BnHA manga beginning in January 2022. I remained completely spoiler-free for almost eight whole months without the slightest issue. then August happened. :')
the thing is, despite my taking a break from the manga, I didn't stop reading fanfiction. in fact I probably read more fic than I usually do, because I missed the series and the characters. it may sound odd that I had the time to read fic but couldn't use that same time to catch up with the manga instead, but they're very different things as far as mental load and time commitment. one is very passive, almost relaxed, while the other requires me to be quick-witted and mentally engaged (at least if I want to do a halfway decent job). something which I wasn't really capable of being at the time. so yeah.
anyway so at the time I generally thought of fanfic as a relatively safe activity, spoiler-wise. and to be fair it was. right up until the single most popular character in the series fucking DIED in the most grisly way possible while fighting the main villain, right in the middle of everyone's fucking summer break. after which pretty much the entirety of fandom erupted into "BAKUGOU DIED??!" and "HE DIED THINKING ABOUT IZUKU??!" and "BABY BOY WANTED ALL MIGHT TO SIGN HIS TRADING CARD?!?!" and "RAIN!?!?" etc. etc. pretty much 24/7 on all social platforms for weeks on end.
so what I learned from that experience is that no matter how good you are at dodging spoilers, it is literally impossible to do so when something THAT momentous and life-altering happens your favorite character who also happens to be fandom's most beloved blorbo. hell, I didn't even get spoiled on AO3 initially; they got me over on YouTube of all places. literally nothing I could do to prevent it. and after that, no matter how meticulously I avoided all of the fics tagged with "362: Light Fades to Rain spoilers", I still kept getting caught off guard because people would casually drop spoilers into untagged fics as well. so I had a bunch of additional little details spoiled for me unexpectedly and I was pretty much defenseless against it. pretty much the only way I could have avoided it all would have been to stop reading Kacchan whump entirely. which, idk about you, but to me that would have been a far more horrible fate. :p
anyway so fast forward to last month, and Kacchan finally came back, and you bet your ass I spoiled myself for it immediately. because I knew it would still take me forever to get caught up The Right Way, and in the meantime I would once again be leaving myself at the mercy of the internet. at least this way I have control over where and when and how I find out. and I got to experience the moment via the manga itself, rather than a third party. and I have to say, this way was vastly preferable to the alternative.
and at the end of the day that's pretty much the same rationale I had for giving in and reading 404 - 406 as well. I knew that once Kacchan was back, the pace of the Final Battle was going to start picking up, and things were going to start happening, and I'd rather read all of those things for myself! like just for example, there's close to a 100% chance the "Kacchan" line from this week would have been spoiled for me in someone's fic if I hadn't read 406 beforehand. just little things like that. anyway so this way, no matter what happens to Kacchan and Deku from this point forward, I'll get to read it fresh and experience it in a way that I unfortunately never got to with the chapter 362 moment. and so to me, that's more than worth the trade-off.
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Could you expand on what you said in a post about libraries about the big 5 publishers screwing over libraries in terms of digital lending rights?? I’ve not heard of that at *all* and im generally pretty caught up on publisher news, so I think theres a pretty big library-shaped hole in my sources lol
All righty, a couple disclaimers here. One, this is from a Canadian library perspective, so idk how well it applies to the US. Two, I don't work in the collections department at my library, so I'm basing this off what I remember from class years ago
(also clarifying that I'll be referring to ebooks and audiobooks collectively as digital books just to make it easier)
But in short, the Big Five publishers only very reluctantly put up with libraries having physical books, and one of the reasons they do that is because only one person can have a physical book at a time. Digital books, though? Why, if a library has a copy of one of those, hundreds of people could read it at a time! That's profits they're losing! How terrible!
But, well, selling to libraries is still a sale, so the companies sell to them but restrict it as much as possible. One, libraries pay much more for digital books than your average consumer. I don't have the exact number, but it's significantly higher. Two, unlike a physical book, which a library can have rebound if it's popular but hard to find, and which could conceivably last years if it's hardcover or paperback binding, digital books have severe limits on them. Maybe the library can only buy one "copy" of a digital book - i.e., only one patron can use it at a time. That digital copy artificially expires after 20 loans or 2 years, whichever comes first. Got a waitlist of 50 people waiting to read the latest Alexander McCall Smith book? Too bad! 30 of them are gonna have to go without! Do you have a moderately popular book by Danielle Steel, which gets borrowed every couple of months? Sorry! You've had it for two years, so it's gone now! Better buy a new copy!
Now, this is the case on digital platforms like Libby/Overdrive. Each digital book acts the same as a physical book, except that most of them go away after a certain amount of time. Certain public domain books might be a one-time buy for libraries, but for the most part, every loan, every week that goes by is chipping away at a digital book's life. Certain digital platforms - Hoopla, for example - have what's called "simultaneous use" policies - maybe you only have one ebook copy of a book by Agatha Christie, but every library patron can read it at once. The trade-off for this is that my library has to pay a certain amount for every person currently reading or listening to a book on Hoopla. We have a daily budget that can't be exceeded. Every week we field calls from people who, one afternoon, wanted to open up Hoopla, but were told they couldn't take out any books - because too many of my library's 40 000 active patrons had also decided to enjoy a book that day. And not every publisher even allows simultaneous use licenses, or they don't allow it on all of their titles
A final reminder to this very long post: please do not boycott Libby or Hoopla over this, I beg of you. Your libraries are pouring a lot of money into them because they're being used. Instead, put pressure on the big five publishers to make their digital books accessible, and vote in your municipal elections to get libraries more funding so we have more budget to put into those items. An easy way to increase your library's funding is just to spend a bit of time a week in there. Hang out with your friend for a few hours, just walk in and look at the shelves, or sit there and use their free wifi to play games on your phone. Digital books are here to stay, and libraries are important for getting those books into people's hands
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mariacallous · 5 months
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Like a soap opera, you skip an episode and lose track of the story. For the past month, two of the most successful hip-hop artists of recent times—Kendrick Lamar and Drake—have been embroiled in a back-and-forth rap beef that reached new levels over the weekend as Lamar released “Meet the Grahams” and “Not Like Us,” and Drake dropped “The Heart Part 6.”
The conflict might be the most newsworthy music event of the first half of 2024, as both MCs voiced strong opinions about each other on the diss tracks, leading to secondary discussions fueled by fan hives, trolls, think pieces, and social media threads. And while the early exchanges might have only slightly piqued some listeners’ interest, the stakes went up following the release of Kendrick’s “Euphoria” last Tuesday. At that point, the beef became something bigger, evolving (or devolving) from the standard stuff of rap and into stormier waters. This includes accusations and exchanges around serious topics: racial authenticity, domestic violence, illegitimate fatherhood, moral posturing, grooming, hypocrisy, colorism, and even colonialism.
The conflict is now mature enough to warrant some larger reflection. Specifically, an examination of what this beef tells us about the marriage between hip-hop, conflict, and online culture.
No advertising campaign can generate the anticipation that rap beef creates, sometimes out of thin air. Whether we are enjoying it or not, we all wait for the next iteration. Through Drake and Kendrick Lamar, we are reminded of just how quickly public squabbles can seize attention—and the many ways that the ecology of digital space in 2024 can shape how these conflicts happen.
For one, artists now control the timing and pace of the releases. Unlike years past, when popular DJs often folded diss songs into radio sets, artists today can curate the release of these tracks, going directly to listeners via platforms like YouTube, Instagram, and X.
Second, the war on truth in the age of misinformation now renders fact-checking irrelevant; whatever someone accuses another artist of in a song might be true or false. Whether we believe it is mostly about whether we want to believe it, whether the message aligns with our preexisting views. And while dodgy accusations have always been true in beef raps, the speed through which falsehoods can spread today makes it easier for absurd claims to take on a life of their own.
Finally, there is the specter of fake songs, generated by artificial intelligence. This makes us double-clutch before clicking a link, as we scramble to debate the authenticity of what we’re about to hear. Saying someone employed ghostwriters used to be the most damning accusation in hip-hop. Today there are many more ways to fabricate a song, and fewer ways to tell the difference between us and the robots. This specifically came to the fore in April when Drake released “Taylor Made Freestyle,” a track that seemingly used an AI-generated version of Tupac Shakur’s voice. (The rapper removed the song after Shakur’s estate sent a cease-and-desist.)
Battle rap, whether it takes the form of in-person face-offs or is done via diss tracks, has always been one of hip-hop’s flagship sports, defined by banter between artists, often—but not necessarily—derogatory in tone. It has roots in “the dozens” and related relics in African American culture that thrive on spontaneity, humor, and wit (often at others’ expense). So while “battling” can be strictly done for the sake of competition, “beef” requires some degree of personal animus between the parties. What’s happening in 2024, as artists like Drake and Lamar trade bar(b)s via IG posts and YouTube clips, and their fans debate the merits on social media, marks a new era of rap beef.
Even this summary has some recency bias: Competitive poetry existed in parts of the world centuries before hip-hop did. Yet, there is something special about how conflict happens in hip-hop: Beef has driven some of the most popular songs ever made, and has been linked to real-world violence. It’s an issue that hip-hop reflects on for small windows (often following the loss of a popular figure, like after the deaths of Shakur and The Notorious B.I.G. in the mid-'90s), after which it returns to business as usual: Rappers A and B exchange taunts, maybe several times. Sometimes a winner is declared. Sometimes it doesn’t matter. Sometimes there is violence; sometimes there is formal peacemaking, like when Jay-Z and Nas ended their beef onstage during a show in 2005. Often, there is widespread attention: rinse, rap, repeat. In the digital world, the cycle moves at the speed of a click.
Very early on, hip-hop communities (like many subcultures) found a home on the internet. At first, message boards served as a place for discussion, and shortly thereafter, rap battles: lines exchanged message by message. No physical stage. No hand gestures. Punchlines only traded bit by bit.
YouTube and streaming created the possibility for something different: the propagation of live battles featuring artists skilled at in-person battling. So popular was battling on YouTube that successful rap battle leagues emerged, turning participants into influencers that accumulate large followings.
Woven throughout is the rise of algorithms and social media, which provide not only an ecosystem for viral videos and songs, but also automatic (and unconscious) instruments to curate media for certain audiences.
The hip-hop movement that can be most directly traced to digital space is the rise of “drill rap,” a form born in Chicago during the 2000s. Its catchy minimalist beats and lyrics make it easier to adopt across regions, local dialects, and lifestyles. It has spread nationally, and spawned the careers of dozens of successful artists. Unfortunately, the story of drill is not the innocent tale of another unique subgenre of hip-hop. Its lyrics feature lamentable celebrations of youth violence, and its songs and videos can include taunting and direct mentions of specific murders.
Public conversations around drill have intersected with debates around policing, gun control, and the contagiousness of high-risk behavior in a digital world. As the genre’s popularity grew, a blame game ensued: Mayors declared war on drill, and appointed special units to investigate local acts; award-winning scholars chimed in, joining a chorus of activists who argue that algorithms should share some of the blame.
Whatever one's take, we can agree that the scenes are chilling: A teenager is gunned down on a Monday. By Thursday, the alleged assailants (often members of a group in conflict with the victim) are boasting about their death on a drill song posted on YouTube. By the following Tuesday, affluent teenagers in Beverly Hills are TikTok-dancing to the track. Rinse, rap, repeat. And in this case, another homicide.
What makes drill so unique is in where rapping stands in the structure: Drill can use rap as little more than a messaging canvas for a street conflict. This is unlike the Kendrick-Drake beef. While the conflict may have taken a dark and personal turn, violent threats haven’t (yet) made their way into the barbs. Given the visibility (and maybe ubiquity) of violence in hip-hop conflicts, we should be grateful to the artists for this. And in general, the Kendrick-Drake beef has the ingredients of a classic rap beef: two talented artists, who care about the craft, trying to settle a score over a beat. Yet, it feels so different.
Fans of hip-hop history know the stories of old: That Boogie Down Productions’ “The Bridge Is Over” (1987) was so impactful that, in its aftermath, artists from Queens allegedly had a hard time getting signed. We’ve heard tales of Big Daddy Kane hunting Rakim around New York City in the late 1980s, looking to battle and end the debate around who was the better lyricist. Most of us know the legendary story of a twentysomething Jay-Z battling DMX in the Bronx. The audiences were small, but the stakes were never higher. In those days, many thought hip-hop was just another fad. The artists were battling for their own ego, but also to grow the art form.
In 2024, we find ourselves at an inflection point. Hip-hop is now as mainstream a form of music as any. Today, narratives live and die on digital timelines, and not in project hallways. The stages are no longer sweatbox nightclubs occupied by dozens (like the ones depicted in 2002’s 8 Mile), but rather online spaces with an audience in the billions. The veracity of claims matters less. And more than ever, the size of the narrative is more important than the quality of the product. “Winning” and “losing” mean everything and nothing, depending on what we care about (e.g., even if Drake is “losing” this beef, it will likely cost him little). This all makes conflict so much more intriguing, and drives a distinct flavor of techno-rap beef—one neither better nor worse than the past, just different.
The manner that technology has already changed rap beef begs the question of where it will go next. One day, the taboo around AI in hip-hop will disappear, and entire battles will be orchestrated by LLM-rappers trained on the raps of individual artists. Quants will develop metrics for who the winners are. If we are offended by a lyric about a member of our family, we’ll blame the machines. It may sound like the stuff of science-fiction, but the gap between this future reality and 2024 might be smaller (in time and manner) than the gap between Canibus vs. LL Cool J (1998) and Kendrick vs. Drake.
The state of things highlights another example of the late MF DOOM’s clairvoyance. The sarcastic lyrics on “Beef Rapp” (the lead song from the acclaimed 2004 album Mm..Food) were not only about the past, but also about a present and future of hip-hop where conflict has life-and-death consequences. Early in the song, DOOM scolds our addiction to rap bloodlust, using beef consumption as a metaphor: “I suggest you change your diet; [beef] can lead to high blood pressure if you fry it.”
The world might agree. Soon, rap beef will cease to exist as we once learned to love it. And that may not be a bad thing.
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school56df · 1 month
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E-Commerce Marketing: Strategies and Techniques for Success best shoes for plantar fasciitis women
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omgmacia-blog · 1 month
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What Will Drive the Next Crypto Uptrend: 
AI, Memes, or GameFi?
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In the world of cryptocurrency, each market cycle often features a dominant trend that drives the overall market volume. Recently, we've observed that Meme tokens and GameFi projects have been leading these trends, capturing significant attention and creating FOMO among investors. Let's explore which sector will lead the market in this uptrend!
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As the value of these tokens rises, early investors reap significant rewards, while those who join later often find themselves facing higher risks. The cycle is simple: early adopters profit, and latecomers provide liquidity before getting left behind. This dynamic generates a strong FOMO effect, where the fear of missing out on potential gains drives many to invest impulsively.
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Similarly, GameFi projects like $Axie Infinity have captivated investors with their engaging and potentially lucrative gameplay. These platforms combine gaming with financial incentives, allowing players to earn rewards through their participation. The appeal is undeniable: players are drawn to the opportunity to earn while they play, and investors are attracted to the potential for high returns. 
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As Meme tokens and GameFi projects have gained popularity, another trend has emerged: the integration of artificial intelligence into the crypto space. 
AI is becoming more important in many fields, leading to its use in new and existing projects. For example, AI tokens like $FET and $AGIX add innovative features and complexity to the crypto space.
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To elevate these trends, many projects are now combining these sectors to create new tokens, such as AI Meme tokens, which are gaining significant attention.
The potential for AI Meme tokens is substantial, attracting investors who want to blend the best aspects of both trends. As AI continues to evolve and become more mainstream, the development of AI Meme tokens is likely to accelerate, leading to new opportunities and challenges in the crypto market.
Famous examples like $BUSAI, $CorgiAI, and $Turbo have captured massive attention from visionary investors and those eager to avoid missing out. This enthusiasm leverages both technology and the popularity brought by the current uptrend.
Therefore, promising AI Meme tokens like $BUSAI offer great benefits to early investors. Not only can you buy these tokens at an attractive price, but their value is also likely to rise significantly with the current uptrend. 
Follow $BUSAI's social media pages to stay updated and make the most of this exciting opportunity.
Source: BUSAI
The Official Channel: Website | Twitter | Telegram 
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surfingkaliyuga · 1 year
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Surfer: Year Ten
And the day has come. Ten years of my humble blog and of a slogan that has taken on a life of its own. A decade is a long time, and the occasion puts me in an introspective frame of mind. Even in a relatively quiet existence such as mine, a person can amass a sizable collection of milestones over that time. Not to mention the gray hairs. I taught myself a new language, learned how to draw somewhat competently, took up 3D modelling with a modest degree of success, I helped a friend create a commercial computer game, at one point I took up writing and had a blog which was fairly popular in its political niche. Some of the things I made had appeal broad enough that a prosecutor and some local three letter agency really wanted to get to know me. That counts as an achievement, right? I got much better at my job, but I'm trying to change trades. I was also fortunate enough to have spent most of the last 10 years with one woman, this was a "big one" on the list.
As for Surfing the Kali Yuga - I'm still amazed this slogan of mine (although I can only take partial credit for coming up with it) caught on as well as it did. Obviously it very much helped that Zentropa took a liking to it and produced a few pictures. My blog on its own wouldn't be enough to popularise, well, anything. In this little corner of the Internet I make more of a "mood board" than anything else. The funny thing is "I" even have my own entry on Know Your Meme. It is, as one could expect, rubbish and cites a random 4chan anon as the source, in a post that is well over a year younger than my original (damn the Tumblr purge of 2019) blog. But it is fun to see some form of "Surfing the Kali Yuga" on every social platform, t-shirt store or anywhere really. Some accounts are quite similar to my blog, some not so much. I even saw anarchists and hippies (I apply the term very loosely) using STKY in one context or another. The most unusual thing was the Bored Ape Yacht Club connection. Internet sleuths, and by sleuths I mean Twitter dimwits, decided that NFTs are a "Nazi subterfuge" and tried connecting the biggest company with "alt-right dog whistles". After bending over backwards and reaching so far up their own asses they could feel the stomach acid burning they connected those Damn Dirty Apes to our favourite catchphrase. Cue one hour long ramblings on YouTube about alt-right ape conspiracy which would make Alex Jones blush. On a more positive note my blog is a cited source, I wrote about it here. Sometimes I encounter people who know my blog when I really wouldn’t expect them to, it never fails to brighten my mood.
One of these days I'll do a proper deep dive into the diffusion of STKY, in the meantime I actually made something for the decennary. I don't often draw for fun, but this time I had to. I also have a bottle of kvass in the fridge waiting for me. Here's hoping I'll still be here in another year. Or ten.
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usabinances59 · 4 months
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fantasyfactorxx · 10 months
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Are gaming communities becoming less about play and more about monetisation?
In an age where entertainment and technology are developing at a neck-breaking pace, gaming communities have seen a metamorphosis that goes beyond conventional play. What was once a large leisure activity has developed into a vibrant hub of entertainment and business, posing fascinating queries about how these digital communities are changing. The entire foundation of gaming communities finds itself at a crossroads as the industry observes the integration of monetization tactics, from in-game purchases to the thriving sphere of esports and content production. In exploring the changing dynamics, we dive further into the topic of whether these communities are becoming less about the pure joy of play and more about the complex web of commercialization that now permeates virtual worlds. 
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These days, microtransactions and on-game purchases are common in contemporary games, enabling users to purchase in-game cosmetics, virtual goods, or other upgrades. Both platform providers and game creators will benefit from these transactions. Older generations can now afford more expensive games on different digital distribution platforms and can afford to pay for in-game microtransactions or to support their favourite streamer or online celebrity, playing video games has become an increasingly important social activity for young people (Bankov 2019). Through the streamer, gamers would be more likely to purchase the in-game item due to how good it looks on the streamer’s interface so they get an idea of how it works. As an example, in a simple mobile game like, ‘Subway Surfers’, most of the characters require the user to spend the in-game currency to buy the characters. Most of the time people would not be pros at the game and would end up buying the in-game currency to buy the character. Even though it is a free game, players would spend extra money to purchase the extra things in the game.
There is a heated argument about how these trades affect what play is really about. While some contend that these transactions provide gamers a way to customize and enhance their gaming experience, others are worried that they might lead to an unfair playing field where those with larger wallets have a clear edge. The problem of commercialization in AAA games is one that both consumers and developers must consider equally as regardless of how well a game is designed, the financial influence that players believe they may have on creators supports the continued use of monetization strategies (Ahmadu 2023). 
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The growth of esports is another aspect of the trend toward commercialization. What started out as amicable buddy competitions has grown into a multibillion-dollar business. Esports competitions draw enormous viewership, and their financial appeal is bolstered by lucrative sponsorship and advertising partnerships. One topic that comes up is whether the competitive scene or gaming communities are more important to the spirit of play, or if money is the primary motivator. According to (Rauth 2023), esports are now so popular that they compete with regular sports for price money and viewership that professional gamers can compete in competitions for millions of dollars, or they can broadcast content on websites like Twitch. Similar to conventional professional sports, esports teams are valued at a total of $1 billion because of their owners, franchises, endorsement deals, cash rewards from tournament wins, and other factors (Shalabi, 2023).
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For gaming communities, the emergence of game streaming websites like Twitch and YouTube has opened up new horizons. These days, gamers may create their content by sharing their gameplay experiences with hundreds, perhaps millions, of viewers. This phenomenon has elevated gaming to a new level of popularity among internet users, but it also begs the question of how monetization affects the process of creating original content. A major factor in opening up Esports to a worldwide audience has been the emergence of internet streaming services like Twitch and YouTube gaming (Sponsored Post, 2023). Most gamers earn a large sum of cash from competing in esports competitions while others would livestream their pro-gaming on media sites such as Twitch and YouTube.
It’s important to understand that there is a positive link between play and monetization even as gaming communities struggle with these changes. Many contend that revenue generation gives game creators the means to produce and support top-notch games. The money made may go towards further content development, enhancements, and upgrades, which will enhance their entire game experience. Finding the ideal mix is crucial. People run a risk of offending the same people who helped to make the game popular in the first place when you tilt the balance too much in favour of commercialization. It is a challenge for developers and the gaming community to carefully traverse this terrain while maintaining the primary focus of the enjoyment of play.
List of references
Admadu, J 2023, ‘Consumer perspectives towards monetization and its impact on AAA game designs’, Master Thesis in Game Design, Uppsala University, Sweden, <https://uu.diva-portal.org/smash/get/diva2:1769625/FULLTEXT01.pdf>.
Bankov, B 2019, ‘The impact of social media on video game communities and the gaming industry’,  Information and Communication Technologies in Business and Education, viewed 13 November 2023, <https://www.pewresearch.org/internet/2018/07/03/the-positives-of-digital-life/>.
Rauth, R 2023, ‘The rising popularity of competitive esports’, Job Skills, 21 February, viewed 15 November 2023, <https://www.jobskills.org/the-rising-popularity-of-competitive-esports/>.
Shalabi, C 2023, ‘Esports: what is it and how it benefits marketers’, Insider Intelligence, 11 October, viewed 15 November 2023, <https://www.insiderintelligence.com/insights/esports-ecosystem-market-report/>.Sponsored Post 2023, ‘The rise of esports: a digital revolution in competitive gaming’, Channel Television, 28 July, viewed 15 November 2023, <https://www.channelstv.com/2023/07/28/the-rise-of-esports-a-digital-revolution-in-competitive-gaming/#:~:text=The%20rise%20of%20online%20streaming,analysis%2C%20enhancing%20the%20spectator%20experience.>.
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