Note: I began this piece while I was in Florida ahead of Hurricane Milton, and I’m leaving that intro intact to honor the moment, and with the added relief of hindsight that Milton wasn’t nearly as destructive as it could’ve been, thank GOD!

I’m presently coming to you live from Central Florida where we are prepping for another major hurricane in Milton. As we brace ourselves here for strong winds and rain, my hope is that those in the most dangerous landfall areas will be able to evacuate and be on higher alert since Helene just showed us how devastating nature can be. It’s strange to be IN it this time around vs. watching news clips from afar.

And yet, the world continues to turn, and so do I! Here’s what else is going on in my world:

• my friend reespect continues to bring people together and keep web3 in the mix with her planet lukukul pop-up party

• me being photoshoot cute on main haha.

• saltï and i breaking 100 mints on our joint song drop for Celo, iridescent wave: remix party!

This week, I’m giving my review of the All Things Go festival in NYC that took place last weekend, otherwise known as “the festival that Chappell Roan dropped out of last minute.” How did it all shake out in the end in these cold & endlessly rainy days?

Besties,

Celia

100% chance of rain until 2pm. Until 3pm. 4pm. 5pm.

Welcome to All Things Go weekend in NYC, where even the most optimistic and queerfully joyful among us had their patience and ponchos tested up against never ending grey skies and the dashed hopes of seeing Chappell Roan live.

“It was a little too good to be true, huh?” I said to my partner as we re-read the IG announcement. Chappell, arguably one of the biggest artists in the world, had somehow ended up on the bill for ATG’s NYC debut as the runner-up to the runner-up headliner for Saturday! In what world?…. Not in ours, it turns out! Chappell dropped both of her ATG dates (in NYC and DC) just a couple days out, leaving festival goers, many with long distance travel plans to attend this once-in-a-lifetime Chappell-tunity, feeling a little hollow.

I was one of them — and not because I wasn’t also hype for Reneé Rapp, Janelle Monáe, and MUNA [lesbians], but because I wouldn’t have bought tix in the first place if Chappell wasn’t in the mix. I’m not a festival goer with the exception of the Lilith Fair revival back in 2010 (yes, girl!); it feels stressful and full of too many variables, especially outdoor scenarios where IT COULD RAIN ALL WEEKEND (did I mention this yet). 

But my main issue with the ATG festival was the overall lineup, and this isn’t because I didn’t know who many of the artists were (I did my research and remained mostly unmoved). Because Chappell appearance aside, All Things Go’s lineup was vastly white, and (probably related) vastly just not musically of interest to me. Janelle Monáe closing out the 2-day festival on Sunday night was a huge plus, but it doesn’t make up for a major lack of diversity across both days.

With all that said, here are ten takeaways!:

1. The crowd gave their ALL.

People were out in the pouring rain hours before doors opened for some reason (Towa Bird diehard fans? Like what?!). They were dancing and singing their hearts out like it was Woodstock in ’69. This crowd lost Chappell and still managed to put a brave, perhaps toxically positive face on for all that this festival COULD be, and for that, I respect them to the moon & back, and was glad to be a (wet and soggy) part.

2. ATG was gay af.

In the best ways! Now if only it were gay af and not just for white women; then we would really have a gorgeous two days of music for everyone.

3. ….But why would a man be there?
Hey, at least they didn’t bring out Jack fucking Antonoff in New York like they did in DC, LOL. But yeah, both ATG festivals had one or two male artists sprinkled in and I’m definitely curious as to why! Like, lean in to the queer, babes. Look around. Read the room.

4. Reneé Rapp earned her headlining spot, and so did MUNA.

HELL YEAH. Reneé went out there and somehow made us forget all about missing Chappell! From her setlist, which featured so much from her debut EP (my fave), to her vocals, to her choices — bringing out a choir, singing her ass off with said choir on “Snow Angel” to close the night — Reneé Rapp had me tearing up by the end. That’s how it’s done, babes — incredible set! 

5. Rain is a STRONG deterrent.

Besides (some of) the main headliners, here’s who I wanted to see: Soccer Mommy, Mannequin Pussy, Coco & Clair Clair, Samia. Here’s who I actually ended up seeing: Samia. Yeah, the weather was rough. It’s a festival with no re-entry, so if you get wet early in the day, you’re kind of stuck that way for hours on end, and we just didn’t have it in us to risk missing Reneé, MUNA, and/or Janelle Monáe to stand in the pouring rain for earlier acts and hope our drug store ponchos held up.

6. Who ARE these people?
Maisie Peters, Holly Humberstone, even Ethel Cain, all at pretty prominent spots in the lineup. Like, this is how I knew this festival was not for me. Respectfully, I could not find a song I liked from any of these artists ahead of the festival, so I skipped out on their sets except for…

7. Ethel Cain.

Look, I am NOT one to bash artists going hard at being themselves, okay? But holy god, I have never been more out of place at a set in my entire life. I have heard of Ethel Cain from exactly one friend, yet there were so many people who knew words… to these haunting, depressing ass songs. My one positive-ish takeaway was an appreciation for her voice, which is absolutely reminiscent of Fiona Apple. But these songs did less than nothing for me.

8. Janelle Monáe is the fucking TRUTH!

Janelle Monae rocked the place to heaven and back, which was much needed after an Ethel Cain set that I can only describe as “what purgatory must be like.” As a more old school Janelle fan, I feel so lucky to have been able to catch her live, because she has to be one of the hardest working & best performers of our generation, period. 

9. The food was okay.

Yeah.

10. What’s next for ATG?  

I appreciate ATG sending out a survey asking who we want them to bring next year.

Let’s see if they listen and make bigger & better things happen next year. A women-centered, super queer-leaning festival of this magnitude has SO much potential! I cannot even imagine if there was nice weather and a lineup that had me out there all day, all weekend. It could happen, and the ball is in ATG’s court. Let’s see what they do with it.

xo C

Summer is fading out bittersweetly here in New York, and what a few months it’s been. I’ve been busy visiting family, creating in various forms, and taking classes both IRL and online to learn stuff while unwinding with the absolute psychological thriller that is the reality tv game show, The Traitors! How about you?

Here are a few highlights:

• working with Celo to launch part two of the first ever paid iridescent wave remix contest! Huge congrats to our winner, saltï, whose unapologetically queer take on my track is just Pride perfection. Check out the drop here, and make sure you collect both my version and saltï’s version of the track via our audio-visual NFTs, the first to hit the Celosphere!

• getting some structured education and inspiration on generative AI for visual artists in the Hug x Stability AI lab!

• co-hosting SheFi Karaoke Night in the Lower East Side of courrrrse! Spice Girls classics WERE sung as a group.

And what about Read Write Own? Is it already obsolete or still showing us the way on all things blockchain future? Let’s dive into Part 3 and find out!

Your pal,

Celia

Welcome to iridescent wave: the deep cut, a place for subscribers only! This week, we’re back to recapping Read Write Own by Chris Dixon with a sprinkling of insights & commentary from what’s happening around present day web3 — my fave. :P

Dixon is laser focused on what he sees as corporate networks’ great weak spot, and blockchain’s great opportunity: take rates. Let’s get into it. 

A new era of remixable, composable internet! Welcome to Part 3, where we get in some particularly juicy weeds around take rates and the tokenomics that make web3 unique (and also something of a throwback to developers’ open source movement of the 1990s). 

Dixon really loves the idea of composability, which he argues leads to a form of community-created software. A lot of the big corporate media companies don’t endorse the open-source way; outside developers can’t just tap into Youtube to build an app on top of it because that competition would be a threat to Youtube.

Web3, however, is open-source all day! So building on blockchains offers unique benefits: first, blockchain networks have the ability to cover their own hosting costs by distributing their tokens (aka crypto coins) to the validators who keep the network hosted, and the builders who take the time to contribute their work to the chain. That means Developer Jane can spend her time building stuff on Arbitrum, for example, and enjoy token incentives for it — aka, get paid.

Second, blockchain networks run on code that enshrines its rules, including prices enshrined in their tokenomics plans; once the code drops, the blockchain can basically run itself, and no corporate overlord will be coming in to make big, sweeping, profit-squeezing changes down the line.

This brings us to take rates, which are sure to fire you up, reader! 

Has a small business in your neighborhood ever expressed that they prefer customers pay with cash? That’s because of take rates, or the percentage credit card companies take (2-3%) on every charge. It’s the percentage that ebay or etsy will take when you sell something using their services. 

Dixon takes a look at the largest social networks’ take rates. In this context, take rates are the fee they charge for network activities like commerce or advertising. Remember now that WE the people create the content for these social media companies. That revenue they gain, though, goes… overwhelmingly not to us.

Youtube leads the way -- meaning, it has the lowest take rate, by splitting revenue 45/55 with creators. The others, however, still take about 99% (Facebook, TikTok, Twitter as of when this book came out) and create sus creator funds with strict rules instead to make up for it. And what are you gonna do, leave them? They are so widespread, it’s kind of tough to just go it alone without them; how will you reach your audience? 

So yeah, as you’ve probably seen, creators are left to work harder and compete with each other more fiercely for the less than 1% of revenue on these platforms while the companies themselves do whatever the hell they like. How does this play out? 

Well, ever hear from social media marketers that it’s important to stay on top of new announcements and updates from the platform? This is because they will constantly change their algorithms [when creators get too good at cracking it]. In other words, if your content is performing well and your reach is awesome, the platform will find a way to bring you back down and force you to eventually pay up in ad money to maintain those high reach numbers from before.

But yeah! Imagine a world where the dominant social media apps can't have astronomical take rates. Can you? It sure is difficult with the way social media has been dominated by the same companies for so long, but Dixon seems to think web3 is our key to getting to that place!

Phew — I’m going to break here since we’ve already covered so much! This ‘part’ is a probably the longest in the book.

I’ve been trying to hold up real world examples to Dixon’s mostly conceptual, theoretical book — hence my focus on decentralized social apps like Farcaster and Lens in my last Read Write Own post. It's been a minute -- how are those apps holding up nowadays? Well, they’re still here, though my feeling is that they only thrive when there are injections of cash to give away, and that seems to always come from the traditional financial world (VC money), not brilliant blockchain tokenomics plans. And then that runs out, and web3-hip artists/creators run to the next lucrative opportunity.

Airdrops and flash-in-the-pan cash giveaways are still the inconsistent norm in web3 from my creator vantage point. There’s also the side note of the founders of these promising apps somehow managing to suck absolutely. Maybe it would be easier to get behind these apps for the long run if the people running them weren’t second rate carbon copies of the billionaire trolls of tech who got us here in the first place.

xo C

As the crypto world turns, I had the best long weekend completely offline being a real person and had the bright idea to do something a little OT but actually the most ON topic: write about music! Big shoutout to WILLOW for prompting this week’s blog post, which is a celebration of three albums in particular that I have been living with heavily for the past weeks. Here’s what else I’ve been up to:

• Getting ready to co-host a park hang for the ages with @Melknee! If you’re in New York, catch us outside at Play No Games this weekend!

• Dropping my own work with my gaycoinz amigetas on Zora! 

• Celebrating the Take Up Space zine launch by ordering a copy — SO GOOD! 

Without further ado, let’s get into Three Albums That Make Me Believe in Music Again.

First, I think we’ve been blessed with an unusual number of good albums in the past year or so, so let me give an honorable mention shoutout to Ariana Grande, Reneè Rapp, Beyonce, Troye Sivan, and Empress Of (and Shygirl too if we’re counting EPs!). Let me also say that it’s no surprise that at least two of the albums below come from artists who are queer women; of course they are trailblazing and shining hard.

What the three of these artists below have in common is a strong sense of self that transcends trends, and a deep love for the music over all that shines through in their work. They’re also all Gen Z! And their music is VERY different from each other’s (she’s an eclectic girly) while finding mainstream appeal. Here are Three Albums That Make Me Believe in Music Again.

The great Carly Rae Jepsen once coined the phrase Music to Clean Your House To, the working title for what later became her pop classic, Dedicated. She said, in making that album, she was aspiring to create music suitable for that activity as it tends to hold up. It’s an interesting metric that has stuck with me ever since, and it has helped me narrow down to one of my defining traits of a great album: so versatile that you can both clean your house to it or stare out the window of an airplane during takeoff to it, both of which I’ve done with Heaven Knows.

Heaven Knows sits lovingly in that place for me as an album for any kind of weather, and that also reveals more of itself with repeat listens (another one of my great album traits!). The Billboard Women in Music Producer of the Year for 2024 PinkPantheress released her full-length debut album in the fall of 2023, and it surprised a lot of people, including me. I had come to know PinkPantheress as an expert crafter of bops, but Heaven Knows stands out as much for its songwriting as it does for its ear candy melodies and intricate production. Fave “Ophelia” follows the tragic story of the Shakespearean character of the same name mixed artfully with a modern perspective while seemingly innocently sung tracks like “Mosquito,” “Blue,” and “Feel Complete” take fresh introspective turns around topics like the sudden onrush of global fame & funds, the quiet ways we envy and long for acceptance from others, and making the difficult decision to end a relationship with someone you’ve been holding up for so long.

As far as PinkPantheress the person goes, there is an authenticity and humility to her that resonates with me deeply. It is kind of a miracle that she has remained herself through her sudden rise to fame. You just know there were industry people itching to turn her into an easily marketable and conventionally pretty/hot Tate McRae of sorts, but PinkPantheress has remained so steadfastly herself as a person and as an artist, and that’s why this is just the beginning of great things for her. (Check out her first single of the year, “Turn it up,” which just dropped and pays homage via a dreamy Selena sample.)

This one came out of left field in the best way. It also feels like a major example of Spotify deciding to push someone heavily via their radio, which I usually find offensive, but with Chappell, they actually did some good. Between opening for Olivia Rodrigo and picking up new converts by the day since a couple years back with bold singles like “Naked in Manhattan,” Chappell is such an intoxicating breath of fresh air.

If you’re gay and listen to music, you probably heard “Red Wine Supernova” at some point in late 2023. It stood out in so many ways, from the incredible vocal performance (“who IS this?” - me), to the blending of acoustic guitar with electro pop production, to one of the catchiest, most iconic hooks I’ve heard in SOME time. From there, you probably started picking up some plays on “Pink Pony Club,” an anthemic celebration of a song and of queer culture sure to make your heart swell when you shout along to the massive chorus (best experienced with others!). It also comes with a hint of the more vulnerable songwriting Chappell is capable of in its piano-laden intro: “Oh, Santa Monica / I swear it’s calling me.” 

Jumping into the album from there, you’ll find plenty more upbeat and sparkly tracks (including one that delightfully toes the line on sinister in “My Kink Is Karma”), but my favorite thing about the album as a work is how strong the ballads are in counterbalance to its dance-floor bangers. “Casual” is an angsty instant queer classic for everyone who’s ever been led on while “Coffee” brings you back to those lingering feelings for someone you really don’t need to see anymore, and “Picture You” presents one of my favorite moments on the album in its gorgeous, lulling bridge. With the success of follow-up single “Good Luck, Babe,” the sky is the limit for Chappell.

Again, this album prompted me to write this post in the first place; it’s a brilliant reminder of the power of music, and the power of standing your own ground in your art. By the way, in empathogen, you are looking at the current number one Contemporary Jazz Album in the country (via Billboard).

WILLOW’s musical career has been a little all over the place in the best way. Her last album, <COPINGMECHANISM>, which is full of gems, is the most punk rock shit I’ve heard in some time. Her voice is a huge and undeniable emotive force, and to hear it soar and scream in the context of pop rock of any kind is so satisfying. So you can imagine what it sounds like when WILLOW turns around and drops a multi-genre triumph (yes, heavily jazzy, but also much more than that) a couple years later in empathogen.

At just 23, it seems to me that WILLOW is just beginning to come into her musical own and on her own terms. This album feels at parts like Esperanza Spalding, at others, like Tori Amos (really!), and then St. Vincent pops up for a feature that I must say results in a better song than anything on her own recent album. What’s new for me this time around is a stronger connection to the lyrics, which feel like new age exploration of the self without overdoing it.

The album is best experienced as a whole but standout tracks include the groovy and addictive “false self,” “symptom of life,” “the fear is not real,” and “run!”

As her Tiny Desk shows, WILLOW is a MUSICIAN to the highest degree. Combined with her ambition to be a true great, I have a feeling this album will be turning a lot more heads as the year goes on in a music industry where WILLOW is sorely needed.

xo C

Have you been toiling away on decentralized social for tips in meme coins as I have or are you well?

Here are a few things I’ve been up to this past week:

• flying high to the music of indie pop legend in the making and the most recent iridescent wave spotlight artist, Nidia Martinez.

• making new friends & keeping the old at web3 events around the city such as New Internet City.

• reuniting with the MuseMind Conversations X space crew around goals & intentions!

• really digging into these Chappell ballads like the Pisces I am 

After taking a little Farcaster left turn, we’re back on the Read Write Own track! And with decentralized social media apps such as Warpcast and Orb taking off the way they are, the lessons and insight in this book really come through.

So, onward!

Celia

Welcome to iridescent wave: the deep cut (new name alert!), a place for subscribers only! As promised, we continue our stroll down Web3 Lane via the uber popular Read Write Own by Chris Dixon. My goal is to apply this stuff to real life happenings in web3, especially with a creator lens. If you missed the introduction or Part 1 recaps, check them out, and we’ll catch you back here when you’re ready!

“Whereas most technologies tend to automate workers on the periphery doing menial tasks, blockchains automate away the center. Instead of putting the taxi driver out of a job, blockchain puts Uber out of a job and lets the taxi drivers work with the customer directly.” - Vitalik Buterin

HUGE if true, amirite!

We open Part 2 of Chris Dixon’s love letter to web3 (and how rich it can make him, I mean!—) with this quotation, and with Moore’s Law on the number of transistors that can fit on chips roughly doubling every two years, which makes for… the 70,000 IPhone iterations we have lived through, apparently.

Anyway, we then get to the “Inside Out” vs. “Outside In” concept of new technologies, which highlights why blockchains are special: because they have the people — the hobbyists, enthusiasts, open-source devs, and startup founders. Dixon argues that blockchains are an outside-in technology built by these people on the fringes who are passionate about decentralization.

I think of a developer who’s quite known in the web3 music space. He shares openly about his journey — that he didn’t get hired at some of the major web3 platforms, but maybe that’s all the better since he is now essentially getting paid in tokens from various blockchains to do work he actually cares about. I’m not a dev, but hearing this from him helped click these words from the book into place in a real way. Dixon echoes this by saying, “Any developer in the world can write and run apps, ranging from marketplaces to metaverses, on blockchains like Ethereum.”

I don’t think you can really understand web3 without understanding tokenomics — how blockchain creators distribute their chain’s tokens, the different strategies at play, and why that’s so important for creators like me. When we get to the topic of Take Rates, we’ll really come full circle on this stuff, so stay with me!

Blockchains are “massively multiplayer,” says Dixon, since developers can fork whatever existing code and then build upon it. Enter tokens, the ownership layer of blockchains. Whereas ownership of digital assets within corporate networks is “an illusion”  — if you leave that network, you don’t take your Fortnite armor or your followers with you — the decentralized nature of web3 means that your tokens are yours. 

An example of keeping your followers on a decentralized social network can be seen with Farcaster and Lens, two different protocol networks (built on two different blockchains — Ethereum and Polygon respectively!) that users can access via various apps. Switch the app and you keep your peeps (in theory, anyway — for me and friends of mine, the user experience through this is still a little confusing!). 

For both of these protocol networks (Lens and Farcaster), software is in control via blockchain more than the people who built it. And as Dixon says, “through the building blocks of tokens, they give the concept of ownership teeth.” In my view, this statement applies to both $bonsai and $degen, which are “memecoins” or crypto tokens that have become the unofficial currency for users on Lens and Farcaster respectively.

These tokens have also been heavily airdropped to early adopters, which has to play a role in keeping users’ loyalty while also making them money. In a way, if we’re benefitting from these platforms and they do well, then we do well. And if we like our time spent on the platforms, then they do well. It’s an interesting feedback loop relationship that we just haven’t seen take off in (web3) social until recently.

A few words on blockchain networks from the next chapter of that name:

“The internet should feature the same balance between public and private spaces as seen in healthy cities” is an interesting analogy. What these new decentralized social apps are doing, if nothing else, is completely tilting the seesaw away from the major players like Twitter who play by their own rules and charge us increasingly higher fees in the process.

Farcaster’s Season 3 airdrop is live today, and with it, my $degen tips for the month of April, which come out to... an amount! It’s a lot more money than I ever made tweeting.

• “Blockchains are ‘crypto’ not because they enable anonymity (they don’t) but because they’re based on a mathematical breakthrough from the 1970s called public key cryptography.” The more you know!

• A blockchain can resist manipulation! It’s a computer that isn’t controlled by any one entity. “Corporate commitments aren’t reliable,” and Chris Dixon really wants you to know that!

• Dixon mentions digital-physical objects in this chapter, which seem to be picking up steam in web3.

• Digital ownership as a concept is something we are NOT accustomed to, but should be, argues Dixon.

All of this above in simpler terms: artists are being paid in crypto left and right for their participation and posts on decentralized social apps. Compare that to, say, posting on IG or Twitter. I’m still finding my footing on these new protocols (Lens moreso than Farcaster, where I have a strong community and often enjoy engaging with fellow writers), but I think my strategy as a creator on them is something like this: keep creating + posting great videos and music as I always do, and even keep posting that on to IG/Twitter/TikTok (if it survives Republicans in Congress), but then redirect and tailor that content for my Farcaster audience and hopefully a Lens audience, too, and lean my focus towards these new decentralized social apps.

It’s really cool to see the tenants of web3 discussed in this book in action, and to benefit from them! Find me on Warpcast or even Orb and you might get tipped in $degen! 

xo C

We are here to explore the intersection of internet and creativity, so it’s only right that we take a brief pause in recapping Read Write Own so I can spin out on a Farcaster thinkpiece obviously!

Here are a few things I’ve been up to this past week:

• hitting the NFT NYC unicorn circuit

• writing about indie angel Nidia Martinez for iridescent wave

• singing “I Insist” on guitar to celebrate its recent looks on Catalog

A few words on this piece before we dive in: there are many helpful guides to Farcaster that will give you concrete info on how to thrive there like this one and this. Hence the theme of this post, 10 Original Thoughts on Farcaster! What hasn’t been said or more thoroughly explored yet? That’s what I’m aiming for here. Thinking cap: on! 100 $degen

1. Words are valued. I think Twitter started out like this, but we’ve wandered a long way from that place of largely prioritizing thoughtful discourse. People are conversing and sharing ideas and genuine insights — and it’s on all kinds of topics! The Reddit feel of the app via channels provides you with niche communities to jump right into. People appreciate BOOKS there. They appreciate iridescent wave there! Fire. 

2. And so is being social! This feels important because I’m making a distinction here between the largely one-way self-promotional stance we have come to take on most social media apps vs. actually conversing with others, which Farcaster’s design fosters. It’s an aspect of Reddit that I really enjoy that is present here.

3. It feels like a fresh start and I love that. Socially, algorithmically…. Survey on Warpcast says that we are all tired of performative social media dominated by influencers. Also, on Farcaster, I’m not just interacting with my web3 friends and mutuals; I’m talking to strangers. All the time. And I love that, so that aspect of the app works for me. Will it last? I don’t know; it’s an interesting question of “how do we maintain the culture we’ve built here when this thing goes pop & gets super popular?” but I’m not really stressing about that right now. I’m enjoying the $degen ride.

4. People on there fxck with decentralization. It’s kind of refreshing to be around a bunch of people who are actively interested in the tech of web3, and to be where the builders are. You can hang out on the cutting edge of things here if you follow along closely enough. My current Twitter-sphere and feed doesn’t have this quality; I’m connecting with people on Farcaster whom I just wouldn’t find elsewhere.

5. People are building stuff and I am people! Shoutout to Origin Story who touched on how Farcaster is a great place for artists who are also builders in a recent X space hosted by leo pastel — artists who are also interested in really getting into the nuts & bolts of web3. I’ve been on this wave of deepening my learning & understanding of blockchain technology, and I’m enjoying being more immersed in that world vs. drowning in influencer culture on Twitter.

6. The app DID suck at first but it doesn’t anymore because I found people I like there. Like many, I downloaded Warpcast long ago and then put it down for a while. In the time I spent away, people I like and respect went over there and built communities. Now i have gaycoinz, queer friends who support each other and spread that through tips and just genuine convo. Now I have people in /words subscribing to my BLOG!

7. The money incentive is CENTRAL to this because the redistribution of money is CENTRAL to blockchain technology! So for me, the question becomes, is this app valuable enough to me without the $degen tips, without airdrops? Can I feel like I belong? In short, yes, and that’s why I have been hanging out here and not “earning blood” (direct quote lol) on that web3 video app.

8. Real people I know who are the fxckin best got this season two airdrop of $degen. Not just devs, and that gives Farcaster credibility. Beyond that, though, are there people enjoying the app who didn’t benefit from the airdrop? Yes I believe so (me)! 

9. I WANT OFF TWITTER. I have for a while now! I don’t want to be contributing to a transphobe, alt-right piece of shit’s company doing well. Period. So if there is anything out there that is even maybe blowing up in a positive-for-diverse-creators-and-web3 kind of way, I’m checking it out. IMO, Lens couldn’t be that because it was exclusive. Warpcast is the first app that’s come along and made me forget about X, and that is significant!

10. Everything is what you make of it. Yeah, that’s right. This is a thinkpiece after all. :P For now: until another mildly amusing social media app offers me LITERAL MONEY for participating, I’m gonna be hanging out on Farcaster with my REAL FRIENDS that I met last week.

    ---

xo C