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Bahnalifa April 30, 2023 Comment

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Bahnalifa April 30, 2023 Comment

Think of a Factory Five kit car as the ultimate adult Lego set. The premise: An average weekend warrior, armed with basic tools and about 250 hours of spare time, can build a hot rod, a midengine supercar, or a replica Shelby. Spend $19, 990 for Factory Five's Mk4 Roadster kit, add an engine, transmission, wheels, and paint, and you have a sweet Cobra for less than $35, 000.

Yes, the term "kit car" still carries a bit of pejorative sting. The early days of this automotive sub-industry included machines that were unappealing concepts (art deco roadsters based on Volkswagen Beetles), had parts that didn't fit (this was before computer-aided design), or both. Not so anymore. Modern kit cars are designed using 3D CAD software and engineered around powerful, reliable running gear like GM V-8s or Subaru flat-fours. A half-million-dollar laser CNC machine cuts parts with accuracy to within a hundredth of a millimeter, so the pieces actually line up.

Even so, the prospect is daunting. Can a half-competent wrench jockey like me really build a whole car? I'm at Factory Five's Massachusetts headquarters to find out.

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Before me is a red fiberglass body and dozens of boxes that, I'm told, contain the raw ingredients of a car. Three employees help me gingerly lift the body off its tube-frame chassis. Then, we start wrenching.

Today, our goal is to get this car rolling, with brakes, suspension, and tires. Almost immediately, I screw up. I bolt the lower control arm onto the chassis only to discover that I've used the wrong spacers. If I'd slowed down and read one step further in the assembly manual, I would've known better. When founder Dave Smith walks in, I ask whether my handiwork is besmirching the company's good name. That's not something he worries about. "Early on, " he says, "a consultant said that one of our biggest issues is that our name is on the final product, but we don't control the quality." But that hasn't created any problems. "People are invested in what they're building, " he says. "They build their cars to a standard that we wouldn't even go for ourselves." I'm not sure if that'll be the case for me. Have you ever been deep into a piece of Ikea furniture and realized that you bungled something 15 steps back? That's where I'm at. But I fix my mistakes and make progress.

A real Shelby Cobra costs seven figures. Factory Five\\’s kit version is less than $35, 000. you just have to assemble it yourself.

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"We don't structure the build for speed, " R&D director Jim Schenck says. "It's designed to deliver periodic rewards so that you don't get discouraged." I backtrack, swap the spacers, and continue. Soon enough, I'm lifting the 8.8-inch solid rear end into place with a floor jack and mating it to the chassis. The suspension goes on, followed by the hubs and brakes. The wheels are especially satisfying, the whir and rattle of the impact driver tightening the lugs on the studs. I've been in here for three or four hours, but it feels like minutes. I would've bungled more than a few steps without Schenck's help, but I feel like I could do this.

I walk outside to fire up a completed Mk4. This one's got Ford's 5.0 Coyote engine, found in Mustangs. It's a popular option with plenty of power, and the result is a balanced, controllable car. But it drives like you're riding a grenade-powered skateboard. It feels too raw for the street.

In a way, it is. You can't just buy a car like this from a dealer. The thicket of regulations that govern modern vehicles means that building a kit is the only way to get a new car that's exempt from rules about stability-control systems and ignition interlocks. That changes next year with the Low Volume Motor Vehicle Manufacturers Act, which will allow a company like Factory Five to sell as many as 325 kit cars per year fully assembled.

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But skipping to the finished product, I found, is missing the point. Only when these parts are scattered all over your garage and you're muscling a torque wrench to the positive click of 190 lb-ft do you appreciate the artfully orchestrated amalgamation of parts that gets you to the Quik Mart. Where, incidentally, a woman pulls alongside my silver and yellow Mk4 and declares, "Badass." I smile, waiting for her to ask who made it.

Senior editor and columnist. He's now based in North Carolina but still remembers how to turn right. He owns a 2009 GEM e4 and once drove 206 mph. Those facts are mutually exclusive.

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GM Will Skip Apple CarPlay on Future EVs F1 Wheel Guns Are a Remarkable Feat of Engineering Florida ZR1 Driver Spins, Crashes at Cars & Coffee Tesla EVs Getting Written Off, Too Pricey to FixDo you want to know what the most popular digital products to sell online are? You’ve come to the right place. We’ll show you the top 14 proven ways to make money with digital products.

Smart entrepreneurs know that selling digital products has a giant list of advantages over selling physical products. The biggest one being high potential profit margins!

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With just a computer, or mobile device, and an internet connection you can make a digital product worthy of selling. You don’t need physical materials, factories, or a large staff.

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EBooks are one of the most popular digital products for both creators and customers. They are relatively simple to produce since they require little more than written text and a few relevant images.

EBooks are simple to distribute on large marketplaces or self-created online stores. They’re easily consumed by customers, who can read them on e-readers, tablets, computers, and even their mobile phones.

The beauty of creating eBooks is that you can share almost anything you know or are passionate about. You can educate, advise, or curate existing content with an eBook to then sell on your website.

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People use computers and mobile devices every day. Code writers and product developers can make apps that people want and need to speed up business tasks and daily life. Software can be the most profitable digital product.

From large enterprises, to small businesses, down to individual users, here are just a few examples of the types of software products you can make and sell:

Selling software online is something we know a lot about. We created Easy Digital Downloads to sell our software. We use it every day.

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Instead this software is run in a web browser. This type of software is also known as SaaS (Software as a Service). These businesses may not be “digital products” in the truest sense, but can be sold the same way. And customers use and perceive them as similar.

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SaaS products usually have subscription pricing (recurring payment models). Customers pay a monthly fee or annual fee for access to the tools/apps/services.

Graphic designers and artists can create a wide variety of unique and valuable products. Selling digital files allows access to a huge customer base.

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Fonts and typefaces are great examples of digital products which are always popular. Customer preferences constantly change, and designers always need new fonts.

Fonts can be created and distributed for use on the web by website creators, or for use in desktop applications like Microsoft Word and Adobe Photoshop.

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High-quality, premium photos are one of the most sought-after digital products today. The biggest consumers of online photographs are bloggers and website owners.

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Bahnalifa April 30, 2023 Comment

This article is concerned with the recent rise in popularity of crypto art, the term given to digital artworks whose ownership and provenance are confirmed with a non-fungible token (NFT), making it possible to sell these works within decentralised cryptocurrency art markets. The goal of this analysis is to trace a genealogy of crypto art to Dada, an avant-garde movement that originated in the early twentieth century.

My claim is that Dadaism in crypto art appears in its exhausted form that is a result of its revival in the 1950s and 1960s by the Neo Dada that reached the current age through Pop Art. Dada’s anti-art project of rejecting beauty and aesthetics has transformed into commercial success in the Neo Dada Pop Art movement. In turn, Pop Art produced its crypto version that explores not only the question of what art is and is not, but also when art becomes money. In what follows, I will provide a brief overview of NFT art and its three categories that could generally be found within crypto marketplaces: native crypto art, non-digital art, and digital distributed-creativity art. Throughout, I will foreground the presence of Dadaism in these artworks and provide art historical context.

A major technological component that made NFTs possible was developed in 1991, when cryptographers Stuart Haber and W. Scott Stornetta proposed a method for time-stamping data contained in digital documents shared within a distributed network of users (99). This work laid the foundation for what became known as blockchain and was further implemented in the development of Bitcoin, a digital currency invented by Satoshi Nakamoto in 2008. The original non-fungible tokens,

What Is An Nft? How Do Nfts Work?

Were assigned special properties and had a value independent of the underlying Bitcoin, allowing their use as commodity certificates, alternative currencies, and other financial instruments (Assia et al.).

In 2014, fuelled by a motivation to protect digital artists from unsanctioned distribution of their work while also enabling digital art sales, media artist Kevin McCoy and tech entrepreneur Anil Dash saw the potential of blockchain to satisfy their goals and developed what became to be known as NFTs. This overnight invention was a result of McCoy and Dash’s participation in the

Annual New York City event, a one-day creative collaboration that challenged seven pairs of artists and engineers to “make something” (Rhizome). McCoy and Dash did not patent their invention, nor were they able to popularise it, mentally archiving it as a “footnote in internet history”. Ironically, just a couple of years later NFTs exploded into a billion-dollar market, living up to an ironic name of “monetized graphics” that the pair gave to their invention.

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Crypto art became an international sensation in March 2021, when a digital artist Mike Winklemann, known as Beeple, sold his digital collage titled

For US$69.3 million, prompting Noah Davis, a curator who assisted with the sale at the Christie’s auction house, to proclaim: “he showed us this collage, and that was my eureka moment when I knew this was going to be extremely important. It was just so monumental and so indicative of what NFTs can do” (Kastrenakes). As a technology, a non-fungible token can create digital scarcity in an otherwise infinitely replicable digital space. Contrary to fungible tokens, which are easily interchangeable due to having an equal value, non-fungible tokens represent unique items for which one cannot find an equivalent. That is why we rely on the fungibility of money to exchange non-fungible unique goods, such as art. Employing non-fungible tokens allows owning and exchanging digital items outside of the context in which they originated. Now, one can prove one’s possession of a digital skin from a videogame, for example, and sell it on digital markets using crypto currency (“Bible”).

Behind the technology of NFTs lies the use of a cryptographic hash function, which converts a digital artwork of any file size into a fixed-length hash, called message digest (Dooley 179). It is impossible to revert the process and arrive at the original image, a quality of non-reversibility that makes the hash function a perfect tool for creating a digital representation of an artwork proofed from data tampering. The issued or minted NFT enters a blockchain, a distributed database that too relies on cryptographic properties to guarantee fidelity and security of data stored. Once the NFT becomes a part of the blockchain, its transaction history is permanently recorded and publicly available. Thus, the NFT simultaneously serves as a unique representation of the artwork and a digital proof of ownership.

Nfts And Digital Goods

NFTs are traded in digital marketplaces, such as SuperRare, KnownOrigin, OpenSea, and Rarible, which rely on a blockchain to sustain their operations. An analysis of these markets’ inventory can be summarised by the following list of roughly grouped types of artistic works available for purchase: native crypto art, non-digital art, distributed creativity art.

, a series of 10, 000 algorithmically generated 8-bit-style pixelated digital avatars originally available for free to anyone with an Ethereum blockchain account, gaining a cult status among the collectors when they became rare sought-after items. On 13 February 2022,

Invariably bring to mind the historic Dadaist gesture of challenging bourgeois tastes through defacing iconic art historical works, such as Marcel Duchamp’s treatment of

What Are Nfts And Should Designers Be Thinking About Crypto Art?

, as the French called the painting, and inscribed “L.H.O.O.Q.” that when pronounced sounds like “Elle a chaud au cul”, a vulgar expression indicating sexual arousal of the subject. At the time of its creation, this Dada act was met with the utmost public contempt, as

Was considered a sacred work of art and a patron of the arts, an almost religious symbol (Elger and Grosenick 82). Needless to say, the effect of

On public consciousness is far from causing disgust and, on the contrary, brings childish joy and giggles. As an NFT artist, Mankind, explains in his YouTube video on personal profile projects: “PFPs are built around what people enjoy. People enjoy memes, people enjoy status, people enjoy being a part of something bigger than themselves, the basic primary desire to mix digital with social and belong to a community”. Somehow, “being bigger than themselves” has come to involve collecting defaced images of

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Dada was founded in 1916 in Zurich, by Hugo Ball, Tristan Tzara, Hans Richter, and other artists who fled their homelands during the First World War (Hapgood and Rittner 63). One of Dada’s primary aspirations was to challenge the dominance of reason that brought about the tragedy of the First World War through attacking the postulates of culture this form of reason produced. Already in 1921, such artists as André Breton, Louis Aragon, and Max Ernst were becoming exhausted by Dada’s nihilist tendencies and rejection of all programmes for the arts, except for the one that called for the total freedom of expression. The movement was pronounced dead about May 1921, leaving no sense of regret since, in the words of Breton, “its omnipotence and its tyranny had made it intolerable” (205).

In 1951. This volume, the first collection of Dada writings in English and the most comprehensive anthology in any language, was introduced to the young artists at the New School by John Cage, who revived Tristan Tzara’s concept that “life is far more interesting” than art (Hapgood and Rittner 64). The 1950s were marked by a renewed interest in Dadaism that can also be evidenced in galleries and museums organising numerous exhibitions on the movement, such as

Curated by Marcel Duchamp at the Sidney Janis Gallery in 1953. By the end of the decade, such artists as Jasper Johns and Robert Rauschenberg began exploring materials and techniques that can be attributed to Dadaism, which prompted the title of Neo Dada to describe this thematic return (Hapgood and Rittner 64). Among the artistic approaches that Neo Dada borrowed from Dada are Duchampian readymades that question the status of the art object, Kurt Schwitters’s collage technique of incorporating often banal scraps and pieces of the everyday, and the use of chance operations as a compositional device (Hapgood and Rittner 63–64). These approaches comprise the toolbox of crypto artists as well.

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Are digital collages made of scraps of pop culture and the everyday Internet life assembled into compositional configurations through chance operation made possible by the application of algorithmic generation of the images in each series.

Art historian Helen Molesworth sees the strategies of montage, the readymade, and chance not only as “mechanisms for making art objects” but also as “abdications of traditional forms of artistic labor” (178). Molesworth argues that Duchamp’s invention of the readymade “substituted the act of (artistic) production with consumption” and “profoundly questioned the role, stability, nature, and necessity of the artist’s labor” (179). Together with questioning the need for artistic labour, Neo Dadaists inherited what an American art historian Jack D. Flam terms the “anything goes” attitude: Dada’s liberating destruction of rules and derision of art historical canon allowed anything and everything to be considered art (xii). The “anything goes” approach can also be traced to the contemporary crypto artists, such as Beeple, whose

Was a result of assembling into a collage the first 5, 000 of his daily training sketches created while teaching himself new digital

A Complete Guide On Nft Crypto Art

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Bahnalifa April 29, 2023 Comment

Venkateswaran said he and his friend and business partner, Sundaresan, both in their 30s, are still coming to terms with their landmark purchase. (In photo: Vignesh Sundaresan, right and Anand Venkateswaran, left)

It took a few minutes for Vignesh Sundaresan and Anand Venkateswaran to realize that they'd parted with $69.3 million for a digital artwork stored in a JPEG file, coincidentally securing their place in art history.

"We weren't sure we won, " said Venkateswaran, describing the nerve-racking final moments of the online auction for a collage of 5, 000 images by the artist known as Beeple. "We kept refreshing the page.".

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The March 11 auction at Christie's in London immediately made Beeple's artwork one of the most expensive pieces ever sold by living artists, joining a well-known swimming pool painting by David Hockney and an iconic stainless steel rabbit sculpture by Jeff Koons.

Venkateswaran said he and his friend and business partner, Sundaresan, both in their 30s, are still coming to terms with their landmark purchase. They've also had to cope with outside concerns that the transaction could have been a convoluted scheme to inflate the value of the pair's investment portfolio.

That's because Venkateswaran and Sundaresan have invested heavily in a new form of digital collectible with the unwieldy name of non-fungible tokens, or NFTs. Based on cryptocurrency technology known as the blockchain, these digital items function as exclusive certificates of authenticity, making it possible to turn easily copied digital files into unique collectibles sometimes ones worth tens of millions of dollars.

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The Beeple sale broke a record for the most expensive NFT ever sold and kick-started a global conversation about NFTs, their value and whether they are a lasting addition to the digital landscape. But the eye-popping sum involved drew global headlines and some suspicions that it could have been engineered for the publicity that drew more attention to NFTs, which could boost the value of the pair's existing holdings.

The involvement of Christie's, a centuries-old auction house, should be sufficient to reassure skeptics, Venkateswaran said in a call from his home in southern India. "I think the bigger problem here is that people thought this would be impossible."

That's certainly the case with Beeple himself, who in real life is a digital artist named Mike Winkelmann. "This whole NFT thing was not something I saw coming, at all, " he said. During the auction, the artist was in his living room near Charleston, South Carolina, surrounded by family and a video crew, and said it felt like a "bomb went off in the room" as the bids quickly rose. Another bidder and cryptocurrency entrepreneur, Justin Sun, lost in the final seconds after the bids exceeded his previously set maximum.

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The NFT market was already taking off, with transactions last year quadrupling to $250 million, according to a report by NonFungible.com, a website that tracks the market. The Beeple sale turbocharged that growth and helped transofrm NFTs from niche tokens mainly appealing to cryptocurrency nerds to a new type of digital asset that's drawn mainstream attention from the art world, the music industry, sports and speculators.

Not to be outdone, auction house rival Sotheby's plans its own NFT sale, collaborating with the pseudonymous digital artist Pak in a sale next month.

Winkelmann began seeing the possibilities of NFTs for digital artists back in October when he tested the waters with an initial "drop" of his work. "People can actually own my art and collect it and, you know, pay good money, " he said in an interview this week.

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It was after another sale late last year that he reached out to one of the losing bidders, Sundaresan, who uses the pseudonym Metakovan.

The art world was not a common talking point for Sundaresan and Venkateswaran when they first met in 2013 while working at The Hindu, a daily newspaper in Chennai, India. Sundaresan was a 20-something technology consultant; Venkateswaran was a journalist.

Both had humble upbringings. Sundaresan couldn't afford a laptop when he was learning to code, so he'd walk around with a flash drive and borrow his friends' laptops, Venkateswaran said.

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But by 2020, Sundaresan, now living in Singapore, had made himself rich on a series of cryptocurrency ventures and investments. With Sundaresan's money and Venkateswaran's analytical eye, they began exploring NFTs with a new fund called Metapurse.

Sundaresan, who declined to be interviewed this week, created the persona Metakovan as a reference to his affection for virtual worlds known as the "metaverse". The name means "King of Meta" in the Tamil language. Venkateswaran, who lives in Chennai with his wife and two kids, calls himself Twobadour. In a blog post last week the pair revealed their true identities and sought to dispel some of the mystery about their motivations.

"The point was to show Indians and people of color that they too could be patrons, that crypto was an equalizing power between the West and the Rest, and that the global south was rising, " they wrote.

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It was in December that the Metapurse pair made their first big Beeple investment, buying 20 of his works for $2.2 million and gifting the artist with 2% of their new fund of NFT tokens, called B20s, that were designed so allow large groups of people to share ownership of an art piece.

That was the precursor to March's historic sale of Beeple's "Everydays: the First 5000 Days, " a digital file combining works Beeple had created each day from May 2007 to the beginning of this year. Many of them are grotesque and cartoonish takes on what was happening in U.S. politics or pop culture. The works also follow Beeple's rise from a little-known graphic designer to an internet personality with a big Instagram following and multimedia projects with pop stars like Nicki Minaj and Justin Bieber.

"If you look at each picture at face value, obviously not all of them are going to stand the test of time, " Venkateswaran said. "Not all 5, 000 are masterpieces. That was never the argument. Not everything that Beeple puts out is gold. We don't worship at his feet. That's not what we were about. This is more about the combined narrative of what he represents."

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The purchase has shocked art and finance worlds, but in some ways was fairly conventional, said New York art lawyer Leila Amineddoleh.

"A lot of the art market is saying, 'I own something unique, it's scarce, I own it, look at me.' This is not that different, " she said. "The whole value of an NFT is being able to say this is an original. You're buying the bragging rights to say, 'I own the token'. But really, anyone can access the art."

Amineddoleh said the blockchain technology that underpins NFTs and other cryptocurrency markets also provides a transparent ledger to record art transactions. But for skeptics of the largely unregulated world of cryptocurrency, the sale has invited added scrutiny.

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Christie's declined to comment on the details of the sale's financial structure except to say that the total amount was paid in a cryptocurrency known as Ether Define, marking Christie's first time accepting cryptocurrency as payment.

"There is obviously a money trail and Christie's had a set of exchanges that they were willing to work with, that they vetted and approved, " Venkateswaran said. "And those are the exchanges that were used to make the payment. So Christie's has all the information."

Cryptocurrency exchanges can be prone to manipulative behavior, according to research co-authored by Friedhelm Victor of the Technical University of Berlin. But that typically involves investors who buy and sell the same assets repeatedly to create a fake sense of busy trading activity.

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Such back-and-forth trading hasn't yet become common with NFTs, in part because they typically carry higher fees, Victor said. "Crazy speculation is not unusual, " he said of the Beeple sale. "This is a really smart strategy to get some more attention to this whole space."

That has most definitely happened. But Venkateswaran said the attention doesn't mean he and Sundaresan are making a big profit off the tokens. "The math doesn't add up, " he said.

Street art is no longer spray painting on bus stops, street corners and walls. It’s making its way into your home, and if you’re a collector, it’s a genre to consider.

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Works by pioneers such as Haring, Stik, Banksy and KAWS have gained popularity in recent years as we have seen an urban liberation of art media, pushing through the conventional parameters of paper, cardboard and canvas and on to pavement, sidewalks, subways and the bricks of buildings.

As the personification of movement, freedom and spontaneity, art inspired by graffiti has taken centre stage, both literally in scale and visibility and in its burgeoning popularity.

“Since the hip-hop crews of Philadelphia and New York turned graffiti into an elaborate language, encrypted in a range of unique styles, Street art has become an established art form. While its very public presence may scream manifesto, perhaps with subversive intent, Street art nonetheless promotes a sense of the uncompromising, a radical ethos that consistently attracts clusters of fervent supporters throughout the world, ” says Noah

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Bahnalifa April 29, 2023 Comment

That firstly wenever expected to actually make any money for somebody listening to our music; unless they came to a show or purchased a record in a physical store but like all bands and musicians do - we put music out there for peopleto enjoy and to rock-on with their day. Basically it costs us money to make music and to promote it for our potential fans. Although, one time our label even got an advance from emusic.comto help build up their initial catalog and subscriber base that was a one time anomaly. Since the online music revolutionthings have gotten grimmer even though our current fan reach is pretty large these days for usyou would think the results would tell you a different story.

On reverb nation for instance, whichaggregates most of our social spaces, you would assumethat with these types of numbers below would be atipping point to moving the "sales" meter. Trust me I will let you know if it does but here they are in all their glory as of today.

For me making music is still a lot more fulfillingthan bowling (no offense to bowlers); even though the above number would have think you would be asking me for my autograph right about now. The reality is there has been little pay-off yet and making money is clearly not a motivator. In particular on closed systems that pretty much are a unrewarded game-fication of likes and virtual spins they really don't add up anythingother than a quick wow facto for the uneducated. I would prefer the roar of real live crowd any day and then work the merch table afterwards.

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One hand clapping aside; being a musician has however helped mycritical thinking and brainand guided me to be able to conceptualizeabstractly about brand content, digital applications and their relation to creative management in my real life work and to be able to get under the skin onhow publishingnetworks really work. I've always made myself the guinea pig and learned many times over what to and not do. The living I make has been influenced by what I know about marketing music in a very directway. I try to to be a unapologetic rockstar in the digital space, keeping media marketing and creative tactics in check. My efforts are always balanced with the real art and knowledge of how spinning data and value propositions are transparent if you look deeper.

For example: the latest single that came out about a year ago called"Above Your Station" by Eastern Anchors has been streaming within a network of about 10+ providers. We even did a pro rock video and a paid promotion that cost us 1k but that really didn't do anything other than get our video posted MTV.com and 20 other music sites but with NO VJ's giving you media exposure with actual media airtime nothing happened and thusly there wereno sales to brag about. By all accounts though the song is a hit if you count the crap loads of impressions (see above). Most general music fans these days are content streaming and have made the switch not feeling the need to own the artifact. A really sad thing. Even though vinyl sales are up higher than they have been in decades that is really for the hardcore music fan only and not the casual music listener.

So in case you ever wondered how much Taylor Swift makes streaming; her math does not count here. In fact you could say that a lot of the indie artists actually pay for her manicures (if that). So this data drop is focused on the "other" artistswho makes up 98% of the online music ecosystem. She has power no doubt with her recent open letter tomake Apple pay ALL artists for free sign-up streams. She is my hero right now. The artists who buy into the idea of putting your music out there and seeing if it sticks might be seeing a paradigm shift but we'll see if more artists arebrazen like Taylor but lets be honest most "indie" artists are derivative however, there is a cost of entry to find out -- which the virtual music services capitalize on over and over again. The gamble is truly a loosing proposition.

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Recently 3 "streams" on a service provider network of oursingle = .01 cents in gross earnings. [SPOTIFY LNK] The sign-up fee was $9.95 to join the network for a year.

At least this sounds "semi" reasonable" if all of my followerson here listen to this one time you would think 1, 000 plays would = 10.00 USD and the cost of entry would be a wash and maybe 10% of them might make a purchase for more music. That is if you are into heavy guitar laden pop akin to Nirvana and Green Day mixed together with some groovy bass playing I think you be a happy customer. At least that was the hope for this gateway single.

Please click and listen if you want it's but at this time we have earned back 1/10 the cost of just joining or .98 cents. However, to get those funds you need to accrue at least $25 and then Paypal will take their transfer cut. So currentlythat 1.00 is a free virtual loan to the network until such time you can cash out. If you multiply that times by how many bandshave bought into this idea it's painfully obvious that being an artist is not a money maker unless you are able to stream in the millions of listens. At least that is what you would think!

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So who are the good streaming providersyou might ask? None really is the answer and from the looks of it comcast nor verizon have not gotten into the game directly just yet. The music industry will always be a numbers game but here's where it becomes evident and mind boggling.

Considering the ads that run on page earn at least 3x that per impression; you would be incorrect as it's also based on completeness and some other weird

"algorithm" and by network. The net of it is the larger the service and plays the less of a pay-off. In a recent @EasternAnchors report of one years time in the network we had 55 streams for one song + one online sale via the Reverb Nation digital distro service the band earned 0.98 cents with the network of GooglePlay, Nokia, Xbox music, etc. Even though virtually the fan base seems big. The reality is the money is not

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I got the detailed network table from somebody who is much better at the math than me and I really liked his summary and question below.

Thetrichordist.com: - "If the services at the top of the list like Nokia, Google Play and Xbox Music can pay more per play, why can’t the services at the bottom of the list like Spotify and YouTube?" ...wrong. "the less streams/plays there are the more each play pays. The more plays there are the less each stream/play pays."

So I'm not sure if trickle down economics will ever pay but it sure gets sold over and over again. I do know that if you purchase a song one time you can play it ad free when ever you want. The band makes ahonest .67cents per song on our label's bandcamp page [Viva! La Hara Records]which is really the best game in town for indie artists.That is after transaction fees from bandcamp, taxes and of course paypal gets their cut from a gross $1.00 sale. Then on top of that the earnings are reportable as income. Good thing it costs a lot more to have a band with recording and rehearsal costs and everything else and if you are not writing off your band as a tax right-off you should get on that.

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Net of it is hug a musician and just randomly give them some cash or buy them a beer otherwise you would be sitting in your cubicle listening to silence right now.

Join Davidin his quest tell the truth, help launch new companies and contribute fresh ideas around transparency. He'sa contributing member oflaunchnj.orgwhich is a fast growingentrepreneurial technologycommunity hub connecting on meet-up. Davidalso owns a small boutique digital and video storytelling production consultancy called VLH Digital and Filmserving start-ups and medium sizedbusiness based out of New Jersey in the finance technology, healthcare, green techand non-profits sectors.

Considering the ads that run on page earn at least 3x that per impression; you would be incorrect as it's also based on completeness and some other weird

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I got the detailed network table from somebody who is much better at the math than me and I really liked his summary and question below.

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Net of it is hug a musician and just randomly give them some cash or buy them a beer otherwise you would be sitting in your cubicle listening to silence right now.

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The ultimate guide to the NFT revolution: How non-fungible tokens are poised to transform the digital world. Non-fungible tokens, or NFTs, are the most important digital innovation since the creation of blockchain and cryptocurrency. NFTs share the best elements of both of these, while also representing an entirely new step forward for technology. But how did NFTs arise, how will they impact art and business in the decades to come, and--perhaps most importantly--how can savvy entrepreneurs position themselves today for success in the NFT-driven world of tomorrow? This guide by industry leader and entrepreneur Marc Beckman delves into the underpinnings of NFT technology in a way that makes the subject clear and comprehensible to the layman, while drawing on Marc's branding experience to explore exactly how NFTs are poised to change fashion, sport, fine art, and even social justice. In this book he explores how NFTs will create entirely new asset classes and investment possibilities, such as fractional ownership in dynamic works of art. And in doing so, he also tells the story of how he personally discovered and became entranced by this powerful new tool, and where he believes NFTs will take business and branding throughout the 21st century.

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