Ecosystems on the Blockchain — The "Equisystem"

It's been 18 months since I wrote the LMO Structure for Tokenomics.

It's a strategy for token-based economics on a blockchain, and it's specifically designed for scalable ecosystems built around products, experiences, and services.

A month after I wrote the paper, the cartoon monkey vertical took off. A few folks on Decentraland and Clubhouse chatted about it, at the time. Many noted the frequent appearance of dogwhistle imagery popular on websites like 4chan. Many did not buy a cartoon monkey for a few hundred dollars worth of Ethereum. As of my writing this, the lowest price across from USD is $105,000. I personally have zero regrets not engaging in the cartoon monkey vertical.

Naturally, the use-case of creating 10,000 cartoons and trying to create millions of dollars in trade volume value was replicated far and wide. A model first demonstrated with the historic CryptoPunks, it's proven to create a club atmosphere around exclusive ownership over art pieces in a collection. With further "utility" — a sector term describing the value-added relationship across from each piece — the exclusive ownership of the piece is combined with membership in the ecosystem formed by the economic value of the collection.

It's an elementary demonstration of the market potential of this technology. For historical purposes, the cartoon craze of 2021 may well be celebrated. Limited to my own experience, I witnessed a lot of hopeful consumers come to the web3 sector only to be greeted by a rug pull — a consumer collects a piece for the utility, but the platform / project does not follow through with their promised relationship. From where I sit, that's fraud.

This has happened to so many first-time consumers, the overall public impressions of using blockchain technology to redefine the foundations of the global economy have been severely damaged. It's seen as a field of scams.

I understand, completely. My strategy — a combination of capitalism, socialism, and meritocracy, focused on film and television production — was buried by the cartoon craze.

Let's scale it out. Let's forget about the blockchain, the non-fungible tokens, the nodes, the miners, the hashes, the wallets, the contracts... the scary stuff.

Think of a blockchain as a vast, empty sea of still water. The people who use and maintain the blockchain are floating, each independently. Anytime any of us does anything, we create a ripple.

That ripple is permanently recorded and witnessed by all the people floating in the sea, and anybody interested in looking. That ripple can't be changed or removed. Each ripple forms a digital data point that can be used in all sorts of ways.

Some events — a basic transaction of sending and receiving funds — are just a ripple.

Some events — creating the foundations for an ecosystem — form an island in the sea.

The LMO Structure for Tokenomics forms islands in the sea using a strategy that maximizes the functionality of this blockchain technology for equity-backed collaboration.

A blockchain ecosystem — the island — can be formed around any of the four standard pillars sustaining the global economy.

Products. Experiences. Service. Property.

I'm a film & television producer, so I work in a field that creates and monetizes "audience experiences." I formed our first island with a ripple dated March 24th, 2021 at 9:09pm.

Let Me Out Productions is the first island in the film and television production sector in web3. The ecosystem is a service. Organized as a professional resource collective. Authenticity Upheld. Opportunity Uplifted. The jazz and the snazz.

In order to stop swimming in the sea, folks need a boat. The boats are free. Who doesn't want a free boat? A "cryptowallet" is the boat. The blockchain is the sea.

Just like real boats, there's a lot to know before you go sailing. In this sector, security is number one. Each boat has a private key, and some have more than one — anybody who has the key can access your boat, forever. Therefore, only you should have the key to your boat.

A "crypto exchange" is a dock. While you may buy and store assets there, when the dock is closed, you can't access what you own. When you buy assets at the dock, it's best to move them to one of the boats you can use at any time. There are "hot wallet" boats that work on phones and web browsers like Metamask and Coinbase Wallet. This is the boat you use to visit islands. There's "cold wallet" boats that are separate, physical drives for removing your assets from the sea, altogether.

We offer lifetime access to any boat with one or more of the 80,000 tickets to the Let Me Out Productions island. 500,000 tickets are in the binder. 420,000 of the tickets are for the folks helping us design and build the island. 80,000 are or will be available to the community, and each ticket is a unique piece of art with a unique title. We allow 200 tickets on the market from our binder at any given time until all 80,000 have found their boats, with the right to freeze release. This method is called the "Chronological Growth Curve," and it's a tokenomics strategy of my personal design.

The Chronological Growth Curve releases a fixed, limited micro-pool of digital assets from the overall hard-capped pool. Each asset added to the market has a fixed-scale mark-up from the last. For this collection, it's 0.001 eth for each token minted after #101. This is done for obvious compliance reasons, but I'd like to explain the relationship in terms of what it does for the consumer. Using non-fungible token technology to form the art, using the art pieces as tickets, assigning equity against the relationship using the immovable data points, and releasing pieces on a fixed curve creates a store-of-value relationship with the consumer. There's absolutely no guarantee that the art pieces will ever be worth as much as they are collected for — the island value only grows once our relationships are enjoyed thoroughly by all active members of the ecosystem. The platform scales at a healthy rate. Earlier adopters looking to exit the ecosystem may sell their ticket at a mark-up they feel is appropriate. If another consumer values the art and relationship across from the market list, the early adopter keeps 87.5% of the value generated. I want to be clear — 80,000 artistically-unique collectibles providing access to a film and television development service should not be considered an investment in any way, shape, form, or facet. Collaborate on the growth of value, benefit from the growth of value. What a novel concept.

The tickets carry an amazing relationship with our platform. Any individual with a collectible ticket in their boat may bring a story idea to us. We'll help them develop and form an audience experience island by taking them on the "Voyage of Legacy." This is a thorough (between 26-52 benchmarks to complete, depending on what you're making) development service to grow the highest-quality audience experience possible from the story idea they have without disrupting their creative vision. Once complete, they'll have formed an island for their intellectual property franchise, and another island for their flagship audience experience. They'll have a well-designed tokenomics strategy, with their own tickets available to the market.

That's the first of at least thirteen utilities in the Company Ownership Token. Minted before any other film or television production company on any blockchain, provable by the ripples created with their printing, these tickets form a historical collectible in the sector — these are the first platform "Membership Passes" in the sea. They carry lifetime access for the boat that holds the ticket to a self-contained, community-managed, equity-backed collaborative ecosystem — or as I like to call it, an "equisystem." We're the first equisystem on Ethereum for film and television production in history. I'm sure other "equisystems" on blockchains exist preceding Let Me Out Productions

Additional utilities include but are not limited to the right to full confidentiality when discussing potential audience experiences with our core team, the right to create a piece of art for a future ticket to Let Me Out Productions with a fixed split, access to The Top Brass DAO, potential access to content, the limited right to create derivative art from the ticket to form their own collectibles, the right to go to all the private lagoons on the island, the right to form their own franchise and audience experience if inspired to do so by the token art and title (unless it's directly related to an existing IP), and the final right needs it's own paragraph. It's caused a lot of to-do in "the space."

Each ticket has a unique serial number in the sea. This data point was created the millisecond I added the art piece to the market. This is used for anchoring layered smart contracts to facilitate the relationships described above with digital enforcement. Because the data point is actually immovable, and the asset itself is purely a piece of art, the serial number can be used in an interesting ecosystem dynamic.

In our Deed of Partnership to Let Me Out Productions, LLC, I've assigned 0.0002% ownership over the platform to each serial number we print from the binder of collectible tickets. 500,000 parts make 100%, so 500,000 tickets are scheduled. Taking custody of a collectible creates an ownership-based relationship in this ecosystem, with the rights limited to exactly what's described in the Deed of Partnership. There is no explicit future flow of wealth guaranteed by having a ticket to the ecosystem. No tricks. If value is generated from their collaboration, we have a hard-math metric for sustainable treasury management. If the boat sells the ticket on the secondary market at an incredible gain on their store-of-value upon entry to the ecosystem — something that the Chronological Growth Curve may facilitate — that boat contributed to the growth of ecosystem value to that degree, and their exit value is their reward.

Theoretically, I could assign parts of ownership to any known collectible, provided I didn't write the smart contract claiming the asset is a collectible. I could — and I thought about this for a day — assign the unreleased market parts and rights to various collectibles throughout the market, expanding our collective to 80,000 members immediately. Parts would be re-assigned with every new Company Ownership Token released. It's a neat idea, but ultimately, not something I could pull off by myself.

In our open sea analogy, we minted (created a ripple) with... OpenSea, the open-access marketplace for digital collectibles. We celebrate uplifting opportunities at Let Me Out Productions, and OpenSea has done exactly that. Naturally, six or seven months later, that became a market detraction with the early contrast, and "they minted on OpenSea" negative goalposts were formed around our specific use of the accessible platform. I'm loathe to defend our work against nonsense — any ripple in the sea can be used to facilitate further interactions using a fundamental part of the technology called "smart contracts."

The Company Ownership Tokens are purely collectible art pieces. They carry no contract or agreement of ownership — the titles and descriptions are fundamental to the art. Company Ownership is assigned to the token identification number. The ripple that I created when I added that collectible to the sea. This is an immovable data point, and a perfect place to anchor an ownership assignment in a Deed. This assignment backs the platform relationship with whomever holds custody over that art piece without requiring any individual contracts. The token identification number — the permanently-recorded ripple of the art piece — is used in layered smart contracts to facilitate the rights we provide.

We are in Phase 0.0015, based on our trade volume in our two main offerings. Phase 1 launches once we achieve $180,000 in accessible liquidity for the growth of our island. Our early adopters in our service island of Let Me Out Productions and our experience island of Press Pass (Season One) enjoy the grassroots, analog relationship with our core team while we grow the community. Despite the network of interactions needing digitization with enforcement through smart contracts, our tokenized relationships in both islands are active, and the few early adopters who are pioneering with us are having a great time.

After 18 months on the market, we've survived all sorts of shenanigans, and just barely. 18 months later, many islands have formed across the sea, and many have used the strategy I created. The paper is published with a CC4 license, so the information and strategies specific to the tokenomics for ecosystem design and content distribution are open-source and available to each and every person interested in employing them for their own commercial benefit. All we ask — our reasonable request — is for attribution.

“This project employs information from The LMO Structure for Tokenomics, an open-source strategy for producing scalable equity-backed ecosystems on a blockchain. Use an equisystem to launch your next production!”

When the first person refuses, the second person may have gotten the information from the first person. The second person employs their impressions of the first person's use without knowing there's a source for the strategy, because the first person refused to respect our reasonable request. We are in a market sector where glory is more attractive than ethics — a dynamic the ripples in the sea correct through situational embarrassment, if not evidenced defrauding of consumers. The second person, the third person, the fourth person, and the fifth person have all built off each other instead of the source of information.

After 18 months, most folks who have appreciated the paradigm shift the paper provides have refused to provide attribution for the aspects of the model they've employed. These are poor ethics that directly starve out our core team. Many, like myself, are in need of economic stability. That's what our ecosystem provides, at scale. Beyond the poor ethics of the situation, it's a dangerous dynamic. I want to be clear — I'm not a victim of any sorts, it's a priviledge to work in this sector. The purity testing of Hollywood has no place here. The benchmarks of those purity tests have been directly developed against the work I've put into the community.

The paper was written with 15+ years of film and television production experience, primarily as assistant director and line producer. The constants — we're the central liability points for everything. Numbers. Budgets. Personnel. Travel. Schedules. Moods. My chapters have included multi-million view music videos, international news production, sketch comedy, documentary, sports media, reality television, advertising, non-profit support, short narratives, goddamn seminars, feature narratives, and various intersections with traditional and over-the-top (OTT) distribution methods. The numbers of the strategy are quite specific to the sustainability of our industry.

I've never pretended to be something I'm not — it's our first edict. Authenticity Upheld. My experiences and credits may not impress folks, something I've never cared about in my career. My mission was to learn how the gears grind. My work, especially over the past three years, has not been prolific. I deal with a health condition I was born with that heavily affects my digestion and immune system with results that can put me on the shelf for three months at a time. As a result, I'm actively in poverty. I don't pretend to be something I'm not. Part of the reason this model exists is because after 10 years being a value-add to a multi-billion professional sports ecosystem, I have less than $4,000 generated throughout that time despite showing up and producing world-class work. Some of these profitable ecosystems are so profitable because they exploit the most marginalized people. The multi-million dollar scale of numbers, I've been working in for over a decade. The value I've received for taking on those liabilites has never been adequate for the labor provided, let alone remotely sustainable in this economy.

It's a priviledge to work in storytelling — the industry should benefit everyone contributing rather than disproportionately hyper-focusing wealth on the legends we immortalize, the masters of the systems, and the winners they personally pick and choose. One of the main reasons my strategy with eventually be mass-adopted is those folks still make a lot of money. In fact, some metrics ran against existing properties have A-list salaries and residuals doubled using a blockchain equisystem. Our strategy perepetually distributes 20% of the net earnings of a profitable ecosystem to each and every hired collaborator based on their time of contribution in the micro-department their labor is focused in.

The numbers are built on a thorough study of the cognitive value consumers apply to exclusive, scarce opportunities to monetized audience collaboration with a re-sale value reflective of the quality of the community. The numbers are built on 15+ years of running sets of all kinds, often between $10m and $25m budgets. The numbers are built on understanding that each and every collaborator is vital to getting the work done on time. The numbers are built on time and scale, with directly lived experience.

I created an elementary abacus model to demonstrate the specificity of the numbers. Many projects who have employed the information may have experienced a moderately successful mint (release of the art ripples to the market), with their floor (community value) collapsing in the days after, with the secondary market trading at less than half of their platform asking price. This is precisely because they calculated their ecosystem on hair-brained tokenomics numbers that don't reflect any industry reality. By spreading the surface information without attribution, folks are putting others in danger.

In A3, insert the desired production budget for your ecosystem. In Columns B through F up to Row 24, I've listed the appropriate scale so users can understand the expected tokenomics across from their ambitions. Column B is the amount of parts of ownership you'll create in the ecosystem. If you're uncomfortable distributing equity, or your local governance makes that complicated, fractionalize licensing rights instead. The model works with either relationship arrangement. Equity carries more weight with consumers than licensing.

I've included the numbers for our flagship "Audience Experience Equisystem" — Season One of Press Pass. We have a $26,500,000 budget (A3) to achieve in order to produce the highest-quality outcome for our 24-episode mockumentary story arc. I've created 5,309,160 parts of ownership to the asset limited to and defined as "Press Pass (Season One)." I invented the franchise — "Press Pass: All Access" — in 2016, and I began work on the first audience experience in the franchise — "Press Pass (Season One)" — at the same time.

In minting a Deed to the franchise to the blockchain, I've created a permanent, immutable ripple. Anybody producing a franchise similar to the purview of "Press Pass: All Access" will verifiably be a copycat on the market. Same thing with "Press Pass (Season One)."

In the Deed to "Press Pass (Season One)," I simply declare that my 100% ownership over my own idea is now fractionalized into 5,309,160 equal parts of exactly 0.0000188353713205102% each. We needed at least 5,000,000 parts for the scale of the ecosystem, and our area codes for the Greater Sacramento Area happen to be 530 and 91. Why not make them immutably part of the history of the sector?

Of the 5,309,160 parts of ownership, that together define 100% ownership over the asset known as Press Pass (Season One)," 10% are available to audience members across from exclusive collectibles with exclusive relationships. I'll retain 35%, anchoring my merit as the creator of the franchise and the story. I'm unable to sell any of my 35% to audience members, but I can sell my entire 35% to an interested party. Let Me Out Productions retains 35% and full governance and administration over the production and the distribution of the content. 20% are reserved for hired collaborators on the production. Every single one. We organize collaborators into appropriate micro-pools for the execution of the production. Of the 20% we reserve on Season One, 6% goes to Cast and Stunt performers. We'll count up the half-days (6 hour blocks) recorded on set for the entire cast and stunt team. The members with the highest amount of time on set will receive the highest amount of equity-assigned collectibles. Because they are explicitly not deriving profit from the efforts of others with this hard-math metric, we are able to perpetually distribute net earnings from this ecosystem to each and every hired collaborator who worked to build it. As it should be.

Now, I've minted 5,309,160 non-fungible tokens to carry three different artistically-unqiue collectibles. Each of the three versions has a different relationship with the "Press Pass (Season One)" equisystem.

There are 530,000 Version One Collectibles. Our storyworld is one of fictional, mixed-gender professional basketball teams, twelve of whom date back to 1939. Our show is a sports-style mockumentary. Any member of our ecosystem holding at least one Version One Collectible may do as I did and create a character for the lore through meme storytelling. Meme storytelling does not rely on production quality to create an immersive experience, it relies on creative story design. Anybody with a Version One Collectible may create and register one canonical non-player / non-coach character in the lore of the show, with layers of community approval for quality control and continuity. They may also register one 7-second-or-less "meme of production" to the archives of the storyworld. Both collaborations are permanently monetized. If the character is used in any official content that creates value, the creator shares in a 35% "source of derivation" pool which has further considerations for screen-time and weight of use (shouts out to Greenlit.xyz — their team is actively developing an enforcement protocol for these sorts of perpetual licensing relationships). There are 530,000 editions of the same token identification number, so the user registers their wallet and their token to the character via the ripple that was created when they purchased their ticket(s) — the token hash. Layered smart contracts can be built of any ripple in the sea.

Version One Scenario: A boat collects a Version One meme of production for 0.0091 ethereum, the asking list from Let Me Out Productions. If the token hash shows the edition coming directly from the platform, that wallet is able to register their address and that edition to the character, if other community members approve of the submission. If the character generates value, they are permanently tied to that value at a maximum of 35% of any transaction. This can only happen off the primary sale, character creation rights never reset on the secondary market. If the token hash shows the edition was sold reflective of collection floor, the holder is able to create a seven-second piece of content in our storyworld. If other community members approve of the submission, this content is added to our archives — if the holder chooses to, we'll make the memes available as collectible merchandise as well, where they'll keep up 50% of the value generated from original material, and 15% of the value generated from derived sources in the franchise (this includes music and art, including fashion designs). We use them in our marketing. A 30-second advertisement will contain a small, community-generated story arc through 4 archived memes. The wallets from the memes curated by our community-guided marketing department will split a pool from the ecosystem treasury, appropriate to their role in the work. At times, the pool may be as large as $25,000 in value.

The Version One Collectible is a demonstration of what users are supposed to do. Create a micro-story in our world, and pursue an immersive development strategy through "memes of production. The lo-fi material is an homage to #Lensface, a 5-year performance art project I did to create my own character in the sitcom. I'm a Cognitive Linguist, and therefore can be pretty boring and dry. I decided to demonstrate descriptivism as an element of production by deliberately producting content as bad as the team I covered. While it didn't grow any audience of any kind during the effort, the notion that an "influencer" would create such a bad content stream on the sidelines of a multi-billion dollar ecosystem was hilarious to me. Instead of writing it through fiction, I decided to advantage my high-level access and my resulting high-level photography by creating the character through memes.

This reflects our second edict — Opportunity Uplifted. Not only will hidden gems be uncovered from across our creative economy through the strategy, all contributions that create value reflect the value to the artist. If they do not mis-understand the relationship going into the ecosystem, there's no outcome where they'll feel defrauded.

There are 916 Version Two Collectibles.

The content in the collectible is longer by 20 seconds. The Version One Collectible was specifically shot as art to release as the baseline entry of this ecosystem. The Version Two Collectible incorporates the same book-end meme and obnoxious advert, but includes some of the actual performance art material from throughout the 5-year project. It's also an exploration of one of my theses in the CogLing field called "The R.A.D.A.R. Conundrum," which explores the possibility that the human subjective reality only interfaces with information based on patterns we experience. This creates the possibility that there's information we're not able to interface because we aren't equipped with the experience or even the cognitive necessity to understand it. The splits remain the same between the Version One and Version Two collectibles.

Any boat with at least 25 tickets can submit memes of up to 5-minutes in length, allowing them a lot more room to create monetized narratives and mini-series in our fictional, mixed-gender pro basketball lore.

Because I look like a pirate out of the Digimon universe and I'm quite excited about that, I fall outside of most people's R.A.D.A.R. as a professional, let alone an expert in various fields. Messaging built on our reliance of these patterns is used to create a subjective reality that empowers opportunity for some over others in virtually every dynamic. Some dynamics occur way more often than others, and that's one of the dynamics applied to consumption of my personhood and professionalism. That's the primary reason we've gone unfunded to every degree from every potential launch pioneer for a year and a half.

The secondary reason is that seven (7) people died in my biological and foster families between April of 2021 — a month after I published the paper — and April of 2022 and I had to exit the marketplace for mental health reasons. Some of the deaths were preventable - the root of the problem was financial. Folks were actively dismissing my strategy and introducing "FUD" as a way of removing and controlling our market position. We had an infiltrator start the narrative, which has been maintained in the sector by a fellow organic ecosystem. While I think the fellow ecosystem has provided a net benefit in terms of growing the sector, they have also focused on creating nonsense rules for market control — rules specifically designed against our build. The infiltrator has since launched their own version of Let Me Out Productions after making a crayon sketch of our trade secrets, marketing copy, assumed roadmaps, and private blueprints. Audacious to be sure, and a severe violation of signed terms. The fellow organic ecosystem uplifted that platform while openly adding to and sustaining a narrative of FUD about Let Me Out Productions.

Just a few days ago, I heard an outright dismissal of our business model. "You can't finance films and shows with NFTs. We've worked it through, you can't use NFTs to distribute equity in a work." To the poor gentleperson who said it — my response was not personal. I have incredible respect for the person, and out of that respect, I won't apologize for my passion. This is our opportunity to re-pave the industry with new infrastructure that works for everybody, as scary as a net earnings distribution across from equity and/or participatory licensing sounds.

To those repeating that narrative — you are, intentionally or not, participating in horizontal collusion. The narrative was created throughout May and June of 2021 by a platform infiltrator. He saw what I've created, he saw I was dealing with family grief over the passing of my brother Kiovonni, and he saw that — bless their hearts — most of the folks I had asked to support did not understand the opportunity, and had bought into negativity regarding NFTs. He used his position as a platform representative in our own rooms and spaces to sew a narrative of non-compliance. This was done in key soft-drops throughout June, and this was done in our historic drop for Season One of Press Pass.

You may see the founder of another "professional resource collective, uplifting marginalized creators" in the attendance of the Clubhouse room, there. That's the one. Our family lost my brother Kiovonni in April. Homeless. We lost our Uncle Glenn in May. COVID mixed with throat cancer. We lost our Auntie Sylvia in June. Brain cancer.

I didn't notice the 0xTheGuy changing our conversations from the ways we connect with consumers to ones policing our compliance. We went from pole position on the market, a platform offering an exciting relationship in film and television production, the first in it's sector to a joke overnight. We went from "this is an awesome relationship for consumers and hired collaborators in a shared ecosystem" to one of "Is the Black man compliant?" I didn't peep the dynamic until the July 3rd drop. In that room, it was clear as day.

Since then, 0xTheGuy has launched his own "member-owned" collective, with much of the exact same layout, network of interactions, and marketing copy we designed before I met the guy, and I with I never met him. That said, it'll make for a great movie.

The market narrative has been maintained, consciously or not, by others in this budding sector. They tell newcomers to the market "you can't launch films and shows using this technology." That's our direct business, and we're the first designed island in the sea. They tell newcomers to the market "you can't distribute equity to each and every person on the team. It's legally impossible, you'll get in trouble." That's our direct business, and we're the first designed island in the sea. They are — consciously or not — repeating a narrative that is not true. They are repeating a narrative that was specifically introduced by an ill-actor to harm our market position. Further, they have zero understanding of the technology if they truly believe those things to be the case, and it's best to step back from claiming an authoritative role in this specific sector. It's inappropriate to limit the beliefs of newcomers because you lack information yourself.

Let's discuss the FUD.

Equity distribution has been the big scary FUD (fear, uncertainty, doubt) we've had to market against since March of 2021. Equity and/or licensing distributions using hard-capped token pools across from exclusive, collectible art pieces of their own economic merit do not create assets that can be considered securities in any facet.

Take a look at the Howey Test. Paul Kim at Business Insider did a great write-up about the Security and Exchange Commission's potential intersections with cryptocurrency, which I've linked above. The Howey Test determines if an asset can be identified as a security.

Let's lay some ground rules for this discussion — the fundamental asset on the market is a Product. A collectible piece of art. Without thorough research into the relationship, a consumer will approach the piece with their own subjective value matrix. Our Company Ownership Tokens are proof of exactly this — some early adopters collected pieces that were far more expensive than other available tokens because they valued their relationship with that specific piece of art. The Product carries a relationship with a Service or an Experience. In total, the asset forms a Property. The creator(s) of the idea own the Property. The Property forms an ecosystem.

The Product carries, if the holder chooses to enjoy it, a relationship with an ecosystem it's designed to contribute to. Our Company Ownership Tokens are artistically-unique one-of-one collectible pieces of art that provide access to our development and production ecosystem. Our Intellectual Property Tokens are artistically-unique micro-pools of collectible pieces of content that provide access to our flagship audience experience ecosystem. Using fractionalized ownership in Deeds, we're able to assign hard-math parts of equity to each collectible in the ecosystem.

The Howey Test. An investment of money in a common enterprise with the expectations of a profit to be derived from the efforts of others. Put more simply — has the consumer purchased an asset with US dollars because of an explicit guarantee of a future flow of wealth derived without measurable contribution?

An investment of money. The notion, as Paul Kim states, is that the SEC may endeavor to interact with blockchain transactions based on the value of wealth. The former SEC regulator I vetted my strategy with for two months (I do not have permission to dox) was of the professional, experienced position that the purview of interaction ends when the US dollar exits the ecosystem. They can't govern a decentralized cryptocurrency for the same reason they can't govern the Indian Rupee. The interest and purview of central governance should theoretically end with the specific currency they issue, and any exchange points. When you trade a state-issued tangible currency with no hard-cap supply (aka fiat currency) into a decentralized cryptocurrency with a hard-cap supply, you are transferring the value of that promissory note into a digital ecosystem maintained by community consensus — this is the sea we've been talking about. In this case, exchanging your US dollars for a cryptocurrency is the "investment of money," if that's how you view the relationship with the ecosystem. These ecosystems have no central body governing the value, which is why they fluctuate from second to second. It's directly reliant on the value the community is willing to maintain the ecosystem at, which is not up to any one person. While some folks have experienced unfathomable gains, this simple community consensus protocol makes most cryptocurrencies terrible investments. They are a "store-of-value" technology — the value of the ecosystem grows with the amount of users it has. Using the cryptocurrency as a value-backed commodity to exchange for art is another way to increase the potential of the value you've stored in the ecosystem, but it is not and should not be considered an investment of money. Folks interacting with these ecosystems like that are called "degenerate gamblers," also known as "degens." Company Ownership Tokens and Intellectual Property Tokens, with proper relationship design, fail the first prong.

In a common enterprise. As Paul Kim states in the Business Insider article, "common enterprise" has never been explicitly defined by the Supreme Courts. We don't consider our consumers investors, period. We encourage the SEC and the consumers themselves to take that same approach. There is no guarantee of reward for entering this ecosystem, so the ticket of entry is a terrible investment. Gains in the store-of-value between ecosystem entry and exit are linked to the success of the collective, which grows in value by executing successful relationships with the member. Simply because of our Chronological Growth Curve, gains between ecosystem entry and exit are fixed to scale appropriately with the growth of the collective. If a member never advantages the relationship, but achieves a gainful position off an ecosystem exit, they have still contributed to the growth of the collective by participating in the Chronological Growth Curve. Precisely designed against being a facility for investment, the Chronological Growth Curve ensures that folks entering our ecosystem priortize the art and the relationship over any gains. Should a gainful position be achieved, we encourage our members to take profits as they see fit. Our goal is to make the relationship so valuable that the ecosystem has no feasible exit value against the scarcity of the art required to enter. Company Ownership Tokens and Intellectual Property Tokens, with proper relationship design, fail the second prong.

With the expectations of profit. I'll be quite clear — do not collect Company Ownership Tokens or Intellectual Property Tokens with the expectation of profit of any kind. Understand that all contributions to the ecosystem are monetized for the member in a pre-defined, transparent way, but contributing is optional. With at least one Company Ownership Members can develop any story they'd like to work on with our "Voyage of Legacy." If their franchise and audience experience ecosystems go on to earn them incredible value, good for them. That's the point of our service. They have access to our optional pitch process. No matter the result of the Voyage of Legacy, the member owns their franchise in full. If they execute a successful pitch to Let Me Out Productions and we onboard their work, we'll produce and administer their asset to achieve the highest possibly quality potential under their full creative control, and we'll maximize the value of the asset through our distribution strategy. All pathways to profit require measurable effort and collaboration, and are pre-defined in the Deed of Partnership. There are no expectations of profit from collecting equity-assigned art pieces, and the only gain for an entirely passive member, should it occur, comes from the re-sale value of the art they've collected. They'll keep 87.5% of the list they choose to offer it at. This conditional gain reflects the effort of helping the collective grow and form an organic market response, and should not be expected. Company Ownership Tokens and Intellectual Property Tokens fail the third prong.

To be derived by the efforts of others. As stated above, all value transfers within the ecosystem are directly reflective of measured participation, produced with hard-math metics. Entering the collective through the Chronological Growth Curve is an effort to help the collective grow, and any gains upon exit should be considered reflective of that direct effort. Company Ownership Tokens and Intellectual Property Tokens fail the fourth prong.

If you disagree, write and publish a counter, and we can debate in a public setting. Stop repeating a market control narrative that has starved us of vital chances of generating community response.

For regulators looking at entry points — the ripples in the sea are permanent and cannot be removed. When a citizen creates a series of ripples and seeks economic value for whatever assets those ripples registered, they are promising a relationship to the consumer taking custody of the ripple.

If the creator does not follow through on their relationship with the consumer, they've committed fraud. For the consumers, they can pursue civil outcomes via class-action if the creator is a known person or entity. For regulators, they can pursue criminal charges, depending on the intent and execution of the creator. We're in a sector of low-ethics and easily-manipulatable security protocols. Scams and rug-pulls were the lessons of 2021 and 2022.

"Press Pass (Season One)" has a public document called a "Benchmark Thermometer, Liquidity Schedule, and Revenue Scale." A big step in protecting the consumer's interests in scalable ecosystems is informing them what happens at certain benchmarks of value in the treasury across from the collectible market response. I don't believe a central government body is needed for a community regulation — any project seeking more than $500k in USD value should have to have something like this for consumers. If they do not, the community doesn't mint the project.

The format I've used protects our hired collaborators from being doxxed while informing both the collaborators and the community what happens in each project phase.

Right now, we're at Phase 0. Phase 1 begins with a minimum of $180,000 in our project treasury, allowing us to facilitate a hired pre-production unit which prepares the asset for production while focusing on increasing the size and strength of our community.

We're looking for a pioneer launch partner to secure at least 10,000 Version One tokens in their boat. They can share or extend the character creation and meme creation opportunities with their community, we have a fixed-split arrangement for exactly that extension. This transaction would launch a historical vertical. The holder is able to collaborate in a special, exclusive role in the ecosystem. Co-Producer of Season One of Press Pass.

Their role is to help curate memes from the archive to form narratives to use in advertising. They go to two meetings a month until wrap, or until 9 months pass, they have satisfied their collaborative requirements for a net earnings distribution across from their collectibles. Eligibility for this relationship only applies to holders of at least 10,000 tokens, creating a compliant staking mechanic for the ecosystem. That's also why it's smart for a collaborator looking to create more gainful opportunities for themselves to grab 15,000 tokens or more. In the conditional event a story-influenced market response generates a secondary value of more than our primary list, you'll want some pieces to release to benefit from that market.

A similar hold requirement is used to welcome Executive Producers into our ecosystem. 53,091 tokens is required to participate as an EP. They are able to provide notes on rough draft scripts and rough cut edits. They are able to have a physical office on our primary soundstage, and if they are a positive contributor to our culture and creative environment, additional involvement is welcome. They are required to provide at least 12 sets of notes on rough draft scripts and at least 12 sets of notes on rough cut edits. There is no creative control with these positions — in our ecosystem, we respect the merit of commitment at this level, and all suggestions will be heard.

If you want to design an Audience Experience island like "Press Pass (Season One)" with guidance from the history-making OGs of the sector, you'll need at least one Company Ownership Token. We create Audience Experience ecosystems with your best sovereign interests and your creative control in mind.

If you want to create a character in the lore of Press Pass, collect a Version One or Version Two Collectible.

The Top Brass DAO enforces all relationships, and facilitates payment for labor through a community treasury provided by Let Me Out Productions. Collecting more than one Company Ownership Token and/or Intellectual Property Tokens graduate you in The Top Brass DAO!

Thank you for reading!

Thank you for understanding.

Thank for supporting us by joining our island!

We have a core message that applies to all souls, whether alive or ascended — you deserve to exist!