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The entertainment industry is getting serious about NFTs. For example, The Walking Dead metaverse has seen massive success in the Web3 space, and even comic book publishers have used NFTs to change how they interact with their fanbases.
Now, a major television broadcast network is doing the same. Co-Creator of Rick and Morty Dan Harmon and Blockchain Creative Labs (BCL, Fox Entertainment’s Web3 studio) have released a series of NFTs for the upcoming animated series Krapopolis, a show about a dysfunctional family of humans, gods, and monsters set in mythical ancient Greece, according to a press release shared with nft now.
The NFTs were made with the help of Web3 studio Props, which has helped bring projects like Woodies, Boss Beauties, and Deadfrenz to life. The series went live in a Thursday tweet with a video of Harmon endearing his fans with the dark humor we love. BCL is also collaborating with Rarible to provide a secondary marketplace for the NFT collection.
“Go get your Krap Chicken now,” he began in the tweet. “I think we’re all gonna get rich together. I think that’s how this works. If it doesn’t work that way, don’t sue me. And if you do sue me, you’ll have to do it for Krap Chickens.”
via Blockchain Creative Labs
BCL is releasing the NFTs, a collection of Krap Chickens, on August 11 at chúng tôi The collection will feature 10,420 unique pieces illustrated by Krapopolis animators and generated from a wide variety of attributes. All of the NFT artwork will originate directly from content that appears in the program.Giving fans creative influence through NFTs
The possibility for fans to use their NFT ownership to influence the show’s direction could be a model for the future of the entertainment industry.
“Bringing fans closer to the content is always of the utmost importance and blockchain opens up the possibilities for this in ways that have never been possible before,” explained BCL CEO Scott Greenberg in an email exchange with nft now. “[NFTs] will essentially streamline the ability for fans to offer creative input. Creatives have been taking notes through Twitter and Reddit for years, after all. The relationship between creator and fan has always been absolute. Even Vince Gilligan credits fan Kevin Cordasco with giving him the idea for reintroducing Gretchen into the conclusion of Breaking Bad. Dan came up with the idea for Krap Chicken NFTs, and it will be amazing to see where the community takes it from here.”
A Krap Chicken NFT via Blockchain Creative Labs
Greenberg, the Emmy-winning producer behind Bob’s Burgers, Central Park, and The Great North, says he’s thrilled to be working with one of the premier NFT marketplaces in the ecosystem in Rarible. The BCL team found Rarible’s low marketplace fees particularly appealing.
“This Krapopolis NFT marketplace, powered by Rarible, will act as a home base for the Krap Chickens community to buy, sell, and trade their Krap Chicken NFTs with a one-percent marketplace fee,” explained BCL President Melody Hildebrandt in an email correspondence with nft now. “Over time, as we release more NFTs beyond the chickens, it’ll be like trading and bartering in Ancient Greece, in tune with the Krapopolis theme.”
Regarding NFTs’ place in entertainment media, Greenberg says community building will follow as long as fans are the focus, and the blockchain gives them a chance to hone that focus in a direct way. Given the enthusiasm for the fanbases of Rick and Morty and Community to engage with Dan Harmon and those shows’ creative teams, lowering the barrier to participation in one of the beloved showrunner’s newest creations is a natural step.
The BCL team is confident that the future of media and entertainment hinges on how industry players use (or avoid) blockchain technology, arguing that Krapopolis is a model for that future.
“Traditionally, entertainment companies have functioned in a one-to-many fashion,” Greenberg added. “This allows for limited feedback and integration of those consuming the media. With the help of BCL, Fox Entertainment will transform that model by making this creative process more collaborative. This will change the entertainment industry and reshape the way people view content and how companies produce and distribute content.”
The show, which will premiere on Fox in 2023, features the voices of Emmy Award winner Hannah Waddingham, Richard Ayoade (of The IT Crowd fame), Matt Berry (What We Do in The Shadows), Pam Murphy (Mapleworth Murders) and Duncan Trussel (The Midnight Gospel). Dan Harmon will supervise the show’s production and its executive showrunner, Jordan Young.
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This handoff is something human-machine interaction designers have spent a lot of time puzzling over. Today, research published in the inaugural issue of the journal Science Robotics highlights a new bump in the road: Human drivers may not be capable of smoothly taking control of their self-driving vehicles.
The research, co-authored by a multidisciplinary group at Stanford University, studied 22 drivers on a 15-second course containing a straightaway and a lane change. The car navigated itself to the start of the course, then handed control over to the driver, who negotiated the straightaway before being cued to make the lane change.
The idea was to test how well a human driver could adjust to changes in speed that may have occurred when the robot was in control. The test vehicle, of Stanford’s design, allowed researchers to tweak the car’s steering responsiveness, a tactic that mimics a key change that may occur when an autonomous vehicle controls itself.
When the driver’s hands were off the wheel, the researchers altered the car’s steering performance to mimic higher-speed maneuvering. The faster a car is moving, the more sensitive steering becomes; i.e. you need to turn the wheel less to make a lane change on the highway than you do when maneuvering into an adjacent lane in bumper-to-bumper traffic.
When steering was made more sensitive, drivers did not handle things very well. “They were making many more steering oscillations,” explains co-author Lene Harbott. “They tended to overshoot the first big maneuver, and had to correct for that in order to make the lane change.”
Co-author and neuroscientist IIana Nisky (now of Ben Gurion University of the Negev, Israel) says this disconnect is an example of implicit versus explicit learning; awareness alone cannot compensate for what our bodies can figure out implicitly through experience. Over time, drivers were able to acclimate to the new, more sensitive steering conditions, but doing so made returning to the prior “baseline” conditions difficult. “You’ve changed the internal representation of how the car is going to respond,” Nisky says.
In this study, the adjustment window was not long enough for drivers to veer off-course. But the results do indicate a need for further research into how human drivers will handle handoffs in a broader range of conditions.
In fact, these results could spur inquiries across a wide array of autonomous driving disciplines. Researchers could assess how a driver’s activity inside the car (e.g. if she’s talking to a passenger or paying attention to the road) impact how well she negotiates a handover. Neuroscientists might want to map the precise brain activity happening during handoff moments. And human-machine interaction specialists may take the findings into account when designing the systems that signal drivers to take control of a vehicle.
“The study is really about how human drivers respond to changes in vehicle control,” Harbott says. “Experts in car safety could use our study as one piece of information going forward.”
Updated 12/7: A prior version of this story mis-stated when the handoff between robot and human driver occurred.
What do Ticketmaster and the open source OpenStack cloud platform have in common? Thanks to startup Metacloud, they now both have some ‘spine.’
Spine is an open source technology for provisioning and scaling that was originally built by Ticketmaster and then released as open source. Steve Curry, CEO of Metacloud, was formerly a Senior VP at Ticketmaster before leaving along with some members of his cloud engineering team to create the OpenStack-based startup.
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Instead of being yet another OpenStack-based distribution, Metacloud aims to differentiate itself by providing fully managed private cloud deployments. OpenStack has emerged to become of the leading open source cloud platforms benefiting from the support of IBM, HP, Dell, IBM, Cisco, AT&T, Red Hat and Ubuntu.
“The big appeal of the public cloud is not that it’s public, but that it is fully managed,” Curry told Datamation. “So we want to provide that same fully managed experience with OpenStack where companies just consume their own compute resources.”
Curry stressed that the Metacloud model is about adding value by way of its experienced operations team. Part of the operations team experience stems from the Spine effort at Ticketmaster. The spine system was first built in 2004 as a robust configuration management system that was later released under the open source GPL license.
“Spine acted as our orchestration layer as well as our configuration management platform at Ticketmaster,” Curry said. “At Metacloud we continue to use Spine and it is the basis of our cloud provisioning and scaling capabilities.”
Configuration management in the open source world is a space that lately has been dominated by the Puppet and Chef tools. Curry said that in his opinion, Spine is analogous to what Puppet and Chef provide. He noted that when Ticketmaster started building Spine in 2004, neither Puppet nor Chef were available.
“Spine is a highly dynamic polymorphic configuration management system,” Curry said. “It’s highly modular and it has been enterprise hardened.”
As a managed OpenStack private cloud, Metacloud take an operation level view into the current health of a deployment. From a customer perspective, enterprises use the OpenStack Horizon project to provide visibility into what is running.
From a hardware perspective, Metacloud is relatively agnostic. From a bare metal operating system, Metacloud is currently using Ubuntu Linux. Metacloud CTO Sean Lynch noted that to date, Metacloud doesn’t have a commercial agreement with Canonical, the lead commercial sponsor behind Ubuntu.
“We feel that we have the expertise to support it,” Lynch said.
That said, he added that if any issues came up that they couldn’t solve, they would contact Canonical. While Metacloud doesn’t currently work with any specific hardware vendor, Lynch noted that this is actually a benefit.
“One of the big attractions of Metacloud is the fact that larger enterprises already have a pre-existing set of servers sitting around,” Lynch said. “More times than not, the hardware is already there for us to leverage.”
The core OpenStack project is all about open source and Metacloud’s intends contribute back to the project. Lynch noted that Metacloud has contributed bug fixes back to the Nova compute project among others.
“We want to lean toward contributing back as our default mode of operation,” Curry said.
Sean Michael Kerner is a senior editor at chúng tôi the news service of the IT Business Edge Network, the network for technology professionals Follow him on Twitter @TechJournalist.
Apple Silicon roadmap leak gives power-users good news
The M1 chipset in the new MacBook Air may have wowed, but the Apple Silicon roadmap includes designs with up to 32 cores, it’s reported, as the most potent Mac Pro prepares to abandon Intel. Apple’s two year transition of its Mac range from Intel’s x86 processors to custom Arm-based silicon of its own design was already known to be aggressive, but new leaks suggest it’s going all-in to maximize performance.
Expectations were high for the first models from Apple’s lineup to use the so-called Apple Silicon. The new MacBook Air, 13-inch MacBook Pro, and Mac mini all use variations on the same Apple M1 chipset, with eight CPU cores and up to eight GPU cores. As we found in our review of the M1 MacBook Air, initial concerns around factors like memory allowance turned out to not be the bottleneck skeptics worried they might.
Still, there’s a gulf between the sort of applications those in the market for an ultraportable notebook have in mind, and those demanded of a professional desktop like Apple’s flagship Mac Pro. The M1 – a close relation to the Apple A14 Bionic found in recent iOS and iPadOS devices – is only the first of a series of Apple Silicon chipsets, Apple has confirmed. Although official details of what comes next haven’t been released, that hasn’t stopped the leaks.
Currently in development is a more powerful version of the M1, it’s said, which the new MacBook Pro and iMac models will use. Apple is supposedly working on designs with up to 16 so-called power cores – which will be responsible for the most significant processing tasks – along with four efficiency cores. The latter aren’t as capable in terms of sheer performance, but have significantly lower power consumption so as to minimize the hit on battery life and cut heat output for tasks that don’t require maximum CPU speed.
On possibility is that Apple could use different versions of that 16-core chipset, for different models. On the one hand, that would allow for flexibility in positioning and pricing: by enabling only 8 or 12 of the cores, for example, it could use the same basic silicon for more affordable MacBook Pro or iMac models.
It won’t just be CPU that Apple is focusing on. Upcoming Apple Silicon chipsets for high-end laptops and mid-range desktops, it’s rumored, could have 16- or 32-core GPUs for maximum graphics capabilities.
It’s unclear how much distance the Apple Silicon MacBook Pro and iMac models will add between the external design of their Intel predecessors. Although the chipset architecture was different inside, the new MacBook Air, MacBook Pro 13-inch, and Mac mini look almost identical to their Intel counterparts; the decision is believed to have been one of convenience, with Apple focusing on internal hardware changes and maximizing speed to market. Down the line, the company is expected to experiment more with new form-factors, though it’s unclear if that will replace or augment models in the current range.
As for Apple’s most powerful models, for those we’ll have to wait until later in 2023 for an Apple Silicon upgrade. The company is said to be working on chipset designs with up to 32 performance cores, which it has in mind for its Macs most popular with power users. Late 2023 or early 2023 could see 64- and even 128-core GPUs as well.
We’re expecting to see chipsets like those used in the Mac Pro, which launched late last year in its third generation. However Apple is also said to be planning a smaller version for power-users that don’t require so much chassis space. The rumored half-sized Mac Pro could launch by 2023.
NYT’s Dan Barry COM’s Narrative Conference Keynote Speaker Pulitzer winner among panelists at annual nonfiction seminar
“The trick is finding the balance,” says New York Times columnist Dan Barry, who will give one of five keynote addresses at this weekend’s Narrative Conference. “Just because you can do something graphically now, doesn’t mean you should do it.” Photo courtesy of the College of Communication
For the past seven years, New York Times reporter Dan Barry has traveled to every corner of the country to write about the lives of ordinary Americans for his column “This Land.” His reporting has introduced readers to such disparate subjects as the actor who played the coroner in The Wizard of Oz, an impoverished Rhode Island city struggling to save its local library, and the way the 2012 presidential election was playing out in one small Midwestern town. In 2010 his column was nominated for a Pulitzer Prize, cited for reporting that “movingly captured” the ways the recession changed lives and relationships in America.
While most of his columns run approximately 700 words, Barry occasionally tackles subjects in more depth. Last month, the Times published his 7,500-word investigative narrative about 32 mentally disabled men forced to work for decades in deplorable conditions with little pay at an Iowa turkey processing plant. The story, “The ‘Boys’ in the Bunkhouse,” which took nine months to report, combined long-form narrative with video, audio clips, and photography, to create a heartbreaking story detailing how the town of Atalissa, Iowa, failed for decades to notice the men’s abuse, how their plight finally caught the attention of officials, and how the men live today.
This weekend, along with Mother Jones cofounder Adam Hochschild, Barry will deliver a keynote address on storytelling at the College of Communication annual nonfiction conference. The three-day Power of Narrative event will explore how journalists can stay savvy, skilled, and solvent in journalism’s wired era.
This year’s conference, which still has a few seats available, will bring 35 participating journalists to campus, among them Raney Aronson-Rath, deputy executive producer of the Emmy-winning PBS public affairs series Frontline; Dave Blum, editor of Kindle Singles, an online platform for publishing and selling original, long-form fiction and nonfiction available on Amazon’s Kindle readers; and National Public Radio reporter and blogger Kat Chow, who is a founding member of NPR’s race, ethnicity, and culture team, Code Switch. Also speaking at the conference are five COM faculty: New York Times media columnist and culture reporter David Carr, COM’s first Andrew R. Lack Professor; public radio producer and editor Anne Donohue (COM’88), a COM associate professor; former Boston Globe editor Michelle Johnson, a COM associate professor of the professional practice, who was part of the Globe team that launched chúng tôi former Los Angeles Times and Washington Post correspondent Elizabeth Mehren, a COM professor; and Douglas Starr (COM’83), a COM professor and codirector of BU’s graduate program in science journalism.
Barry began his career at the Manchester, Conn., Journal Inquirer before moving to the Providence Journal, where he was part of the investigative team that won a Pulitzer Prize for exposing corruption in the Rhode Island courts. He joined the New York Times in 1995; his “This Land” column has run in the paper since 2007. He has written three books—Pull Me Up: A Memoir; City Lights: Stories about New York; and Bottom of the 33rd: Hope, Redemption, and Baseball’s Longest Game, which won the 2012 PEN/ESPN Award for Literary Sports Writing. Barry has been a Pulitzer finalist on two other occasions and is a recipient of the American Society of News Editors Award for deadline reporting.BU Today: How did the print story, video, and photography for “The ‘Boys’ in the Bunkhouse” come together?
Barry: It’s an example of incorporating the digital era into the storytelling. The way I found out about it was a news brief about a jury verdict from the US Equal Employment Opportunity Commission (EEOC) for $240 million. I thought I wanted to write about it, so I called the lawyer who had handled the case for the EEOC to do a column, but I said I would only be able to do it if I would be able to talk to the men. I didn’t want to do one of those stories where we talk around people. He said, “Well, no one has ever asked to speak with them.” So there was a lot of negotiation back and forth about how to do that, with all the propriety and compassion and understanding the situation required. So there was a lot of negotiation and we finally did it.
Initially, the people who sort of serve as guardians of these men didn’t want any photography, and certainly no videography. But as they got to know me and the New York Times photographer I worked with, Nicole Bengiveno, and the videographer, Kassie Bracken, they became more at ease with us.
One, the story is an example of patience, but two, it’s recognition by the Times that there needed to be a multimedia experience in telling this story. It wasn’t just text, and it wasn’t just photography. If you read the story online, there was a 32-minute documentary and all sorts of ways to experience the story, neat videos and images that moved. These helped to enhance the storytelling online. The trick is finding the balance. Just because you can do something graphically now, doesn’t mean you should do it. There’s this tension between telling the story and not getting in the way of that story.How did you go about gaining the men’s trust?
The first visit, I didn’t even meet the men. The second visit, I met with the men at a lake, where they were having a picnic. We just chatted—nothing on the record—it was them getting to know me. I think the photographer was there as well, but she didn’t take any photographs. So it was a gradual process. Maybe by the third visit they were comfortable to sit with us and talk and tell us their stories. On the fourth visit, we began filming and putting a microphone on them and asking, “Who are you? Where did you come from? What happened?” It wasn’t as though we flew into Iowa, mic’ed up these men, and left. We were there on and off over the course of several months.“The scope of the piece is epic—it begins in Texas in the 1960s and concludes in present-day Iowa. Were you ever unsure it would come together?
I didn’t know how I would be able to tell the story in a newspaper, quite frankly. The first draft I wrote was twice the length that appeared in the Times. The final story that ran in the paper was 7,500 words, and the initial draft was easily twice that. I didn’t have any expectations that all 15,000 words would be published in the newspaper. It was more a question of showing my editors that this is what I know, and I wanted to have a conversation about what to include and what not to. The difficult part was whittling it down to 7,500 words, and I had many anecdotes and nuances that didn’t make the piece because of space. That was the hard part of the storytelling—how to contain it, and what to leave out. We knew so much about these men and their experiences. It had to span 40-odd years.Was this a conversation you had with your multimedia team—which parts to include in the text and which to include in video?
Yes. For example, in video there are elements that aren’t included in the print story. A challenge for newspapers in the digital age is that the documentary was never really meant to retell the text story. I think the text story strongly complemented the documentary.Your eye for detail is exceptional. In “The ‘Boys’ in the Bunkhouse,” for instance, you describe how to slaughter a turkey and what bystanders were wearing. Is including small details something you had to learn or did it come naturally?
I think it grew organically as I got older. When I was a young reporter, I would cover a story, go back to the newsroom, and struggle to write the story. I would waste time struggling to write the story, writing around what I didn’t know, and the story and the reader suffered as a result. I had to train myself to look for things, like he has a red shirt on, what his name tag said specifically, what he has in his backpack for lunch. I would say that 90 percent of what is in my notebook doesn’t appear in a finished story, but there’s a feeling of authority or command when I sit down to write. It may be delusional, but I know that I know these things. When you report well, and then when you sit down and write, you’re not shackled by a lack of information.
And more recently, it’s become second nature to always have my iPhone with me. Not only do I write down what I see, but I also take quick pictures on my iPhone for backup to go back to later.
For people who want to participate in long-form journalism, read the best. Read some of the works of David Finkel or any of the other participants in the conference. I’m reading Adam Hochschild’s book on World War I, To End All Wars: A Story of Loyalty and Rebellion, 1914-1918, about how the war drew in everyone. Last night I found myself shaking. It’s history, it happened almost 100 years ago, but he was able to create a mood as if you were there.
I’m not being an old curmudgeon, but you have to bang around a little bit, get some experience. Even more than that, you have to get experience as a reporter and learn how to tell stories and learn how to convey a mood, or a sense of place, with just a few words or images. When I want to put someone on a bus in Iowa, for instance, there are little things I do to make that mood. That comes from experience. We’re not stenographers; there are choices we make all the time.
The COM conference the Power of Narrative: Staying Savvy, Skilled and Solvent in Journalism’s Wired Era is being held April 4 to 6 at the School of Management, 595 Commonwealth Ave. A full schedule of events can be found here. Registration closes April 1; register here.
Over the past year, there has been a range of celebrities entering the NFT space. Whether to become a collector, member of the community, or pursue a new stream of revenue, stars — like many outside of the crypto and non-fungible ecosystem — are jumping on the NFT bandwagon.
Yet, while celebrities continue to launch themselves into the metaverse, a sort of unspoken governance has developed within the NFT space, effectively providing a filter for high-profile names hoping to join the community. Because of this, it’s become easy to discern the difference between stars who hope to uplift the space, and those looking to achieve the next multimillion-dollar NFT sale.
Cautionary tales aside, here’s a list of the celebrities who nailed their NFT drops and received a thumbs-up from the collective NFT community.
One of the most notable drops of 2023 came from the pairing of Paris Hilton and Blake Kathryn. Hilton entered the space as a collector and enthusiast, and endeavored to gain the trust and support of the NFT community long before she voiced her desire to conceive an NFT drop.
After weeks of engaging with artists and collectors, as well as purchasing a diverse range of pieces from influential creators in the space, Hilton solidified a reputation for herself as an NFT purist. And when she announced that her forthcoming drop would feature visuals from prominent crypto artist Kathryn — who is known for her soft, colorful 3D portraits and landscapes — it was clear the socialite had gotten in the game for the right reasons.
The collection — consisting of a 1/1, two multi-editions, and one open edition — hosted on Nifty Gateway in April 2023, sold out immediately, receiving widespread praise from the NFT community. Even after the drop, Hilton continued to engage with the community: She continued to collect art, educated her peers and followers, and even launched a gallery with Sevens Grant that displayed art from female-identifying NFT artists.
Mike Tyson has worn an interesting assortment of hats throughout his career, so it wasn’t too much of a surprise when the boxing legend announced he was gearing up for an NFT drop in August 2023.
He had initially shown his involvement in the NFT space by collecting a few pieces and changing his Twitter PFP to a Cool Cat. And when it came time to create the art for his drop, nft now actually helped connect the dots by introducing Tyson to Cory Van Lew.
“When we got to Cory, we had been through probably 20 other (artists) that were really good too,” Tyson previously told nft now about selecting Van Lew to partner with. “I just liked the way I looked in his. The colors helped a lot.”
By both accounts, the creative process was rich with collaboration, with Van Lew and Tyson bouncing ideas back and forth in hopes of offering the NFT ecosystem something new and exciting. The collection, consisting of 11 1/1s and six edition pieces, sold out quickly. “The Mike Tyson NFT Collection” provides a testament to both Van Lew’s creative excellence and Tyson’s desire to take part in the future of digital culture. Be sure to check out our “Behind the Drop” mini-doc on the collaboration!
Steve Aoki is an avid part of the NFT community, but even he had to start somewhere. He began his journey into creating NFTs toward the beginning of 2023, and has collected and engaged with numerous influential projects over the year.
Dropping my first ever NFT collection next week! Lil teaser 🤫 this is the first piece in the collection. Visual design by @Antonitudisco. Opens LIVE on @niftygateway next Sunday 3/7 at 2PM ET. We’ll have limited edition packs, open editions and more so u will want to be quick. chúng tôi Steve Aoki (@steveaoki) February 28, 2023
There have been several artists from the music industry who have found success in NFTs over the past year, with Aoki surely helping lead the way. His peers — such as 3LAU and RAC — have been NFT maximalists since before the 2023 bull market even began, and the NFT community seemed ready to accept the energy and creativity Aoki brought to the table.
From his first drop, it was clear the DJ had plans far beyond being a hobbyist in the space, giving his collectors the sense that he was here to stay by collecting, discussing and engaging with NFTs and communities outside his own. To date, Aoki has dropped two NFT collections that went beyond expectations by offering up bonus collectibles, and even a burn mechanism for collectors to destroy editions of his previous collection to receive new NFTs.
Snoop Dogg will always be one of the most legendary names in rap, but over the course of his career, he’s continued to push the boundaries of his personal brand well beyond music. At this point, he has the clout and freedom to venture into almost anything he wishes. And as a true creator of culture, it only makes sense that Snoop would get into NFTs sooner than later.
Back in March of 2023, Snoop made his entrance into the NFT space known with the announcement of an exclusive drop via chúng tôi Although he wasn’t yet an active part of the NFT community, the news was welcomed by those who understood Snoop’s history as an entrepreneur and connoisseur of internet culture.
His first drop, “A Journey With the Dogg,” went off without a hitch, setting him up for his 4/20 collection with Chris Torres, the creator of the iconic Nyan Cat character. Snoop has continued to engage with the community, even sparking intrigue by changing his avatar to a CryptoPunk and claiming to be the creator of Cozomo de’ Medici, an avid NFT collector and influencer.
As one of the biggest innovators in the NFT space, 3LAU goes far beyond the category of “celebrity NFT drops,” but definitely deserves a mention on this list.
Although 3LAU gained a following as a producer/DJ, his main focus seems to center around how NFTs can potentially revolutionize the music industry through artist independence and community ownership. While working on an assortment of projects within the space, 3LAU has raked in accolades and respect, even earning the title of the first person to auction off a “collection of NFTs representing a best-selling album.“
With the total number of NFT collections he’s dropped nearing the double digits, 3LAU’s pioneering influence can be found throughout the NFT community, especially where music is involved. He and others from the music industry continue to set a precedent for those wishing to enter the NFT space, offering insight into how celebrities can join and engage within the NFT community, so they too might nail their NFT drops.
Photo courtesy of Cory Van Lew.
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