For years, web3 promised to change creator-fan relationships. Instead, social tokens, memecoins, and creator coins turned fans into exit liquidity. The real unlock: creators like @KINGJARED300 owning their audience, accessing capital, and building community on KYD powered by invisible @solana rails. forbes.com/sites/azeemkhan/2…

This is a must-watch for anyone who loves live music. The next major asset class isn’t another financial product. It’s human experience. And it’s becoming more scarce. Venues are closing. Shows are getting canceled. Fans are being priced out. Artists are losing upside. That has to change.

One of the constant themes in my writing for Forbes over the past year has been exploring where entertainment and culture are headed through the lens of digital assets. Last week, I attended a Drake album listening party hosted by @KINGJARED300 at SOB’s in NYC. The event sold nearly 600 tickets and completely packed the venue. Drake wasn’t there, though I did get a chance to chat with Rory from the Rory and Mal podcast, who’s also pictured here. What stood out to me is that this was an unofficial listening party with no involvement from OVO, yet it still sold out. Jared represents a new wave of creators building real businesses around fandom and community. He’s been a dedicated Drake fan for years, built an audience around that interest, and has now hosted multiple successful Drake-themed parties across the country. You might be wondering what any of this has to do with digital assets. The platform powering these events is KYD Labs, which uses blockchain technology on the backend. When people talk about empowering curators through blockchains, this is the kind of thing I’ve always been excited about. Not speculative memecoins or forced crypto integrations, but seamless consumer experiences where the technology quietly enables new business models in the background. That’s what makes this interesting to me. Jared is effectively building a scalable community business using infrastructure most attendees probably never even think about. I’m excited to write more about this because I think the next generation of cultural curators will look a lot like this, with blockchains powering the rails underneath it all. Article coming soon. Also, Iceman is album of the year by miles 🧊🧊🧊.

This GPT Image 2 prompt is going insanely viral right now. “Redraw the attached image in the most clumsy, scribbly, and utterly pathetic way possible. Use a white background, and make it look like it was drawn in MS Paint with a mouse. It should be vaguely similar but also not really, kind of matching but also off in a confusing, awkward way, with that low-quality pixel-by-pixel feel that really emphasizes how ridiculously bad it is. Actually, you know what, whatever, just draw it however you want.”

The stablecoin float gets the headlines. Onchain credit just printed 22x growth running quietly underneath. @Solofunk from @serotonin_hq breaks down what's actually driving it.

Over $300 billion in stablecoins have been starved of yield. Onchain credit introduces exogenous yields that fill the gap, with the asset class growing from $252.2M to $5.58B in 2025, a 22x increase. This is the State of Onchain Credit 🧵

“Ticketing companies act as banks. Whenever a show goes on, a venue typically signs a deal where they get capital upfront to pay the artist and the production. Service fees are interest rates for that loan that the venue has taken from the ticketing company.“ @KYDNimale on @CBSNews discussing ticket prices for the 2028 LA Olympics.

“Ticketing companies act as banks. Whenever a show goes on, a venue typically signs a deal where they get capital upfront to pay the artist and the production. Service fees are interest rates for that loan that the venue has taken from the ticketing company.“ @KYDNimale on @CBSNews discussing ticket prices for the 2028 LA Olympics.

Live Nation has borrowed about $742 million in the private debt market to help finance its global investment in concert venues, sources said bloomberg.com/news/articles/…