Sterling Proffer

So to me, the problem is not with the buying, nor even with the culture-grifting of brands, but with some kind of insufficiency on the part of the companies themselves. If the meanings they have on offer are starved versions of cultural membership, then perhaps, I started to feel, the brands aren’t going far enough. Could we imagine a version of a... See more

In its early days, Substack primarily catered to a certain set of internet-savvy writers and journalists, lured by the promise of monetizing a direct relationship with their readers. But as it morphs from a niche publishing concern into a heavyweight start-up mentioned in the same breath as Twitter and Facebook, its user base is proliferating... See more

Despite the recent downturn, the music industry’s interest in web3 is still as strong as ever. Artists, managers and labels are all coming around to the idea that web3 represents a massive opportunity to re-architect how musicians earn a living and connect with their fans. As an artist or manager, you might be wondering what your web3 strategy is... See more

Search engines, social networks, content platforms, publications with influence, word of mouth—none of them work unless people engage and amplify. That “amplification” looks very different from channel to channel, of course. In word of mouth, it’s literally whether someone talks or types about you. With publications, it’s whether their editor(s)... See more

Adjacent User Theory demands an entirely different approach to being ‘user centric’. Static personas are OUT. Dynamic evolving personas that incorporate product adoption behavior are the standard to strive for. Every 3-6 months during hyper growth, you have to reorient your team around the next adjacent user, what they care about, and what problems... See more

2. Fractionalize ownership with royalty-bearing NFTs: “Fractional ownership” is one of the more widely discussed use cases around NFTs. Here, a fraction of a song is sold as an NFT, with the owner then being entitled to the equivalent portion of royalties generated from the commercial exploitation of the song.