Thread by @theKimansta

Every single #NFT is an immovable data point.

It is permanently maintained on a decentralized public ledger.

Information is sustained by a peer-to-peer validation and agreement network called blockchain.

The energy impact of the blockchain varies depending on which you use.

These data points are almost infinitely programmable, providing interesting economic solutions that didn't previous exist.

Each is recorded to the ledger on an exact date and time, transparent for everyone to see.

This is Company Ownership Token #1.

This data point was minted to Wyvern Exchange V1 contract 0x495f947276749ce646f68ac8c248420045cb7b5e on 3/24/2021 at 9:09pm UTC.

It is purely a piece of art. A 1000x1000 pixel image.

Download the image... you don't own the image.

This image is registered to the Ethereum network with a unique ID number on the Seaport contract.

88207903319044114138828574668233581092866410897349003518169249923694308884481 is the ID number of the data point.

All market transactions are publicly available.

Anybody can look at the receipt.

This NFT was registered to the wide Ethereum network upon purchase on 6-21-21.

A consumer took custody over this data point, defined as a collectible by an unaffiliated 3rd party.

The proof-of-origin is 3-24-21.
etherscan.io/token/0x495f94…

In a separate Deed of Partnership to Let Me Out Productions, I've fractionalized my 100% ownership over the platform into 500,000 parts of 0.0002% each.

I've assigned (or scheduled for assignment) each part to a unique token ID in our Company Ownership Token collection.

When the consumer collects a Company Ownership Token, they have taken custody over an immovable data point.

The holder of that data point enjoys a limited set of rights and interactions, as defined in the Deed of Partnership, from holding a piece of shared property.

This isn't different than other collectible-based ecosystems.

You buy a Warhammer, you own it. It's your property, and the stories you tell are your property.

It's of maximum value if used in collaboration with the ecosystem.

The biggest difference a publicly-known hard-cap.

There is a necessary paradigm shift that consumers have to adopt in order to understand this tech.

It is simply not a healthy financial utility.

It is not a healthy facility for investment.

It's the most thorough community-collaboration system in human history. Hard-math.

It's been manipulated as a financial utility.

There are certainly creators openly defying consumer protection rules, using this tech to facilitate investment.

We're using this tech to grow a like-minded collective, from scratch.

The collective develops high-quality films and shows for the open market.

We'll produce a few exclusives from the development pool, but most will be produced through creator-sovereign partnerships.

Any and every creator-sovereign partnership can be built and launched through the LMO Structure for Tokenomics.

@LMO_PressPass is an LMO exclusive, and our pioneer demonstration.

Once again, using data points as collectible pieces of intellectual property, required for collab.

This model has scared the shit out of legacy systems... simply because we've "had the audacity" to translate labor into equity using these data points.

The perks of them being infinitely programmable. Most chains feature... so, so, so many conditional logic possibilities.

I'm not an effective coder, my brain doesn't actually move forward in beep boop syntax.

I can read it, I can make changes, I know what it does, how it works... but my brain has always had a hard block with creating and conjugating effective syntax outside of English. A SHAME.

So.

20% of the literal property ownership in Season one of @LMO_PressPass is shared by the team.

Each hired collaborator gets issued custody over a percentage of data points, reflecting their time in a shared pool.

The actual production budget is spelled out loosely, but private for purposes of protecting our & your team members.

The global & domestic gross of any distributed property is gathered in a smart treasury, where all distribution and marketing expenses will be public.

On Season One of Press Pass, 6% of the property is literally owned by our 83 or so main cast members.

Johnny won't sue me for sharing - Johnny Taylor Jr. is one of our feature performers, and I'm so excited!

He's absolutely encouraged to trash me and this process on stage. 😂

Johnny will end up working about 120-140 days on Season One in his role as Young Kimani's first boss.

We measure time-worked in 6-hour blocks.

Anybody who goes over 12 hours in a day gets 3 blocks for the day.

LPs and ADs - keep it tight, keep it right... for your own selves.

So if our wonderful 1st AD Justin and our marvelous LP Jill keep the production at the top of the hill... their ownership % is higher.

Well... I didn't have a plan for this rhyme.

Their names are Justin and Jill, and they are both exquisite professionals that deserve to eat.

Not that LPs and ADs need more reasons to have n obelisk as a spine. Calm down, clipboards.

People first. Cost-per-min... second.

We planned ahead for how things go.

Keep creative mushrooms growing, moods healthy, the schedule solid.

Kiss-my-ring folk aren't welcome at LMO.

The cable runner and the assistant's assistant are just as important to the quality of the audience experience as the director. This is true for every business.

You realize that... you'll save time, you'll save energy, and there will be far less politics and leveraging.

We're building a coalition of like-minded industry professionals, operating as a collective of sovereign independents.

You own what you develop and create in the collective, 100%, and you can work with any partner to produce it... including us.

If you do produce with us, you'll keep 100% of the franchise.

You'll keep 35% of the specific thing we're making, with full creative.

We'll keep 35%, admin, governance, and liability.

20% goes to the team.

10% is available to the audience across from collaborative roles.

To accommodate this, you fractionalize your ownership over the distributed asset against the budget produced by your development process.

I've created a public spreadsheet calculator so folks can see a visual. Import to your Drive.
docs.google.com/spreadsheets/d…

There's a $6m budget in A3 for a film.

100% of the ownership to this film has been fractionalized into 1 million parts of 0.0001% each in a "Deed of Assignment."

For those in locales where this is creating assets that need to be registered on a DCM (do your research)...

... you can fractionalize licensing rights instead, and everything essentially works the same way.

I think real property is a more attractive consumer asset than membership / licensing chip...

#Film3 has told me to go firetruck myself on that, mainly out of politics.

Politics most don't even know they're complicit in maintaining, so I don't blame them.

They simply haven't gotten to know me or what I'm doing because they were told not to.

It was baked into the culture before most got here.

58 people have broken the line to support us!

We were counter-marketed by a person that built a collective partially off the authority they gained from counter-marketing.

Then they shifted their origin dates to a month before our proof-of-origin, hoodwinked a bunch of ignorant-of-history white people into supporting them.

Now it's a WAGMI cult, and I'm the demon trying to bring it down. 🤣

It's all so... KKK.
It's all so Tulsa.
It's 1930s Hollywood.

Anyway. I wish them all the best.

We're focused on our small collective that's been on-chain since March of 2021.

I'm ever grateful, this has taken a lot of hard work.

I did anticipate a supportive, like-minded community, wanting to build a collective they'd share ownership in.

Not one person, deciding I was an invalid to be murdered by a torch-lit mob for... having a plan from the start?

It's so traumatizing that this has continued to this very day.

I remain in poverty, unable to afford treatment for lifelong medical issues, stable housing, or food, really.

That's the result of "Let's built a collective to uplift marginalized creators" while scrubbing out the original one started by a marginalized creator.

Right after I was scrubbed out of any opportunity to help my brother while he struggled in the streets and died.

To the 58 collectors we have, my goodness.

You are angels - you have shown me that the value of the information weighs more than the narratives built against it.

Providing information should build community in a clean market.

Defending yourself in a public mob trial, against self-appointed arbiters of the information, does not build community.

The latter has been the treatment from Day One.

Got turned into a minstrel show.

Super sour about it. Everybody could have co-existed.

I don't begrudge anybody of visibility or success. When it's born from a conspiracy to limit competition - a seemingly-common human behavior - it's false.

It comes from the blood and starvation of others.

You can see how traumatizing the group behavior has been in #film3. Our team doesn't deserve what has happened.

We're in a position to launch a grassroots marketing campaign with about $20k liquid.

If that's you, through ownership of Season One, DM me.

Back to the information.

90k Version One Digital Collectibles at $52 per edition
10k Version Two Collectibles at $136 an edition.

Benchmark achievements in a collaborative community can further define roles, but you have two to start w/.

35% to OG creator.
35% to platform.
20% to team.
10% to audience.