#recognition commercial advertisement

[srbachchan]

DAY 5973

Jalsa, Mumbai June 25/26, 2024 Tue/Wed 2:07 AM

Birthday - EF - Anamika Gupta .. 🙏🌹

Ef Özen Eren Wednesday, 26 June .. and all ur prayers and wishes for this special day for the Ef ..

the Agenda .. an act of predetermined thought and conveyance .. what shall bring attention recognition be the intent .. any express that can remotely be given the spin, and mastered is the guile and expertise of such ..

it is lamentable , ignominious to witness the impotency of content .. to somehow in any which manner , to be able to draw attention in storied form, just so it can be put up and seen or read , in favourable condition to them that devise it ..

devise .. for the right is not needed to be devised ..

pity ..

never ever underestimate the generation that follows , or is about to follow .. they are aware and alive to every situation and knowledged to hold their own in debate or discussion ..

we are enriched by the circumstance that often fall upon us .. and then we find a way .. even when there be none ..

"In today's digital age, the ubiquitous nature of content has paradoxically led to a dilution of its potency. With the democratization of content creation, anyone with an internet connection can produce and distribute information, leading to an oversaturation of the digital landscape. This phenomenon has profound implications, rendering content less impactful and more ephemeral.

First, the sheer volume of content available online has created a paradox of choice. Every minute, hundreds of hours of video are uploaded to platforms like YouTube, thousands of blog posts are published, and millions of social media updates are posted. This relentless flow of information makes it difficult for any single piece of content to stand out. The audience, overwhelmed by options, often resorts to skimming or entirely ignoring vast amounts of content, diminishing its overall impact.

Moreover, the quality of content has become highly variable. While the ease of content creation has empowered many voices, it has also led to an influx of low-quality, poorly researched, and sometimes misleading or false information. This glut of mediocre content competes with high-quality, well-researched pieces, making it challenging for audiences to discern value and trustworthiness. As a result, even content of genuine worth can struggle to achieve the recognition and engagement it deserves.

Another critical factor contributing to the impotency of content is the algorithm-driven nature of content distribution. Social media platforms and search engines prioritize content based on engagement metrics such as likes, shares, and comments rather than the inherent quality or informational value. This prioritization often leads to the virality of sensational, clickbait content at the expense of substantive, insightful work. Consequently, the attention economy favors superficial engagement over deep, meaningful interactions with content.

Additionally, the fast-paced consumption habits of modern audiences further erode the potency of content. The average attention span has dwindled in the face of constant digital distractions. People increasingly consume content in bite-sized formats, such as tweets or short videos, which limits their exposure to in-depth analysis or comprehensive narratives. This shift towards brevity undermines the ability of content to foster nuanced understanding or sustained engagement.

The commercialization of content also plays a significant role in its diminishing impact. Content marketing has become a dominant strategy for businesses, leading to a proliferation of branded content. While this can provide value, it also contributes to the noise and can sometimes prioritize promotional messages over genuine, informative content. The blending of editorial and advertising content can lead to skepticism and diminished trust among audiences, further reducing the impact of the content they encounter.

Lastly, the fleeting nature of digital content means that it often has a very short lifespan. Unlike traditional media, which could have a lasting presence, digital content is quickly buried under the avalanche of new information. This ephemeral existence means that even impactful content can be forgotten rapidly as attention shifts to the next trending topic.

In conclusion, the impotency of content in today's times is a multifaceted issue stemming from the overwhelming volume of information, variable quality, algorithm-driven distribution, changing consumption habits, commercialization, and the ephemeral nature of digital content. To reclaim the potency of content, creators and platforms must prioritize quality, foster trust, and find ways to engage audiences meaningfully and sustainably amidst the cacophony of the digital age."

Love and more ..

Amitabh Bachchan

[stevebattle]

SEGA CHAN New Entertainment robot (1982), Sega, Tokyo, Japan. "Here comes SEGA CHAN – the fantastic, futuristic robot that's sure to be a hit at arcades, shopping malls and other family locations. SEGA CHAN delivers promotional impact where it's desired. This walking, talking marvel can shake hands, play recorded music, display videotaped messages on a built-in video screen, serve food and drinks, distribute literature and more! A special voice recognition programming device allows SEGA CHAN to answer specific questions, while touch sensors and danger prevention sensors make him completely safe to operate. By using interchangeable attachments SEGA CHAN can perform even more tasks and be adapted to so many functions that only your imagination limits his many uses!" – SEGA.

SEGA CHAN was never commercially released, but in the final two photos from Gamest Video Game Magazine (1987), we see Sega Chan outside the Hi-Tech Sega Bashamichi arcade in Yokohama, advertising Sega games.

[silverhallow]

Prologue

Sophie hadn’t meant to run into anyone. In fact, she had been trying to avoid people. But on the crowded streets of London, where the Valentine’s Day rush was in full force, avoiding anyone was a near impossible feat.

She adjusted the large, canvas tote bag slung over her shoulder, the one that always felt like it weighed a ton by the end of a long day. Inside, it was filled with boxes of freshly baked treats, a batch of heart-shaped shortbreads and a tray of delicate raspberry tarts. She could almost smell the sweetness from the bag, despite the noise and chaos of the city around her.

She wasn’t even sure why she was here. Kent was home, with its quiet lanes and the warm smell of flour in the air, but her bakery had been flooded with Valentine’s Day orders, so she’d been forced to travel into the city for a delivery. That’s all it was, she kept telling herself. One quick meeting. Then back to the peace of her little shop.

But London never felt peaceful but today, it felt particularly chaotic.

The streets were lined with red roses, balloons, and heart-shaped garlands, making everything look like a scene from a cheesy rom-com. Sophie was never one for the over-the-top gestures, especially on Valentine’s Day. The pressure people put on the holiday always made her anxious, made her feel like love was something to be bought, not shared. She sighed, pulling the hood of her coat tighter around her face.

And that’s when she bumped into him.

Literally.

Her small frame collided with the solid, unmistakably masculine chest of someone, sending her, thankfully, cold coffee splashing across his coat. The bag in her hand tipped, and she could hear the soft clink of delicate tarts shifting inside.

“Sorry!” she blurted, the coffee cup hitting the floor as she grabbed at the bag before anything could spill out. “I didn’t see you there.”

“No, no, my fault.” A voice, deep and smooth, replied, and Sophie looked up, meeting the gaze of a man she’d never seen before.

For a moment, time seemed to freeze.

He was tall, with sharp cheekbones and a scruff of dark stubble along his jaw. His eyes were an intense shade of blue, almost unsettling in their clarity. His lips twisted into a quick, apologetic smile, and he took a step back to give her space.

“Are you okay?” he asked, his gaze darting to her bag. “Nothing spilled?”

Sophie quickly checked the contents, relieved to find everything intact. “All good. Just a little shaken up.”

He smiled again, and Sophie felt a strange jolt of recognition, like she'd met him somewhere before, but couldn’t place it. Maybe it was the look of him, or the warmth in his eyes. Something familiar, but elusive.

“You sure?” he asked. “It’s really busy today.”

She nodded. “I’m fine. Just trying to get through it. Valentine’s Day… it’s a bit much sometimes.”

He chuckled softly. “Tell me about it. I’ve spent the last few days trying to get a commercial to feel… real. Like love, you know? But it’s impossible with all the… glitter and hearts. It’s too much sometimes.”

Sophie raised an eyebrow, intrigued by the strange connection they seemed to be forming in just a few short words. "What kind of commercial?"

He paused, then shrugged with a half-smile. "Event advertising. I work in a creative department here in London. You'd be surprised how difficult it is to make something genuine when everyone's throwing around rose petals and saying ‘perfect’ a hundred times.”

Sophie smiled, glad to hear someone else sharing her frustration. “I get it. I’m a baker, and I’ve been up all night making these ridiculous love-themed cakes. I just want to make something real, not… sugar-coated.”

He laughed, and the sound was unexpectedly warm, like a deep breath on a cold day. “So we’re both in the business of selling love, huh?”

She nodded, her smile tugging at her lips. “Looks that way.”

A brief silence fell between them. Sophie found herself studying him, trying to pinpoint where she had seen him before. But before she could ask, a honking horn interrupted them, and he quickly glanced over his shoulder.

“I’ve gotta go,” he said, his voice soft. “But it was nice running into you.”

Sophie blinked, feeling an odd sense of disappointment despite knowing they would never cross paths again. “Yeah, it was. Take care.”

And just like that, he was gone, swallowed by the crowd.

Sophie stood there for a moment, her heart beating a little faster than usual. She couldn’t explain why the encounter had felt so… significant, but she shook it off. After all, it was just a brief interaction. There was no way it meant anything.

Still, as she turned to walk back toward the tube station, she couldn't help but wonder if she’d somehow just crossed paths with someone she was supposed to know.

[genericpuff]

I feel like it's my duty to remind you all-

This art that she keeps advertising herself with?

It was an art study of a painting by Lynn Buckham, a commercial artist from the mid-1900's who specialized in gouache.

And Rachel did a "study" of his work replacing the original figures with Hades and Persephone:

Now, this would be fine if it had stayed as a study, but Rachel's now been using it as part of her branding without the attached transparency that she didn't come up with the original composition. Not to mention, it can barely even be called a 'study' - for anyone who is unaware of the definition of an art study, studies are usually used for an artist to learn the techniques of another artist, it typically involves a lot of shape breakdown, color pulling, note-taking, and, well, studying. Usually the goal is to try and replicate the original work or reference as closely as possible, it forces you to try new techniques and new angles you may not have tried before.

Art studies tend to look like this:

In fact, another artist on Instagram did an actual proper study of Lynn Buckham's work, which you can find here.

Studies are not meant to be polished final pieces of work, they are meant to be learning experiences - it's less about the end result and more about the process getting there.

Rachel did not do that here. She literally just loosely sketched Persephone and Hades over the original composition, changed parts of the composition to match her comic, and then colored it in without a shred of thought as to how Buckham would have painted that original version. The fact that the anatomy in her 'study' version is as whack as her usual art goes to show that she wasn't studying, she was just drawing from imagination and using Buckham's work as a base, called it a "study", and is now using it for her own gain to promote herself.

Lynn Buckham passed away in 1982. He did not go down in history as a world famous artist. He does not have any Wikipedia articles written about him or galleries hosting his work year round. Much of his original work has been preserved through private collectors at auctions.

Please do not let Rachel take away recognition of his work by making it her own.

[marveltrumpshate]

Talking about Marvel Trumps Hate on AO3

We love it when folks spread the word about Marvel Trumps Hate—the more people take part, the more money we raise, all of which goes to amazing charities!

We encourage all creators to shout from the rooftops (and their social media platforms) that they're participating in the auction, so people can check out what's on offer. We also really appreciate when creators acknowledge that their work was made for MTH to create awareness after the auction ends.

However, if you want to talk about MTH on AO3 specifically, there are a few things to keep in mind about how you're talking about the auction and your involvement so that you don't break any rules. We don't want you to get into trouble!

You can:

Say that your work was created for Marvel Trumps Hate

Provide a link to the MTH Tumblr, Twitter, or website to explain why a fanwork was created (we also encourage you to post to the appropriate annual MTH collection and use the gifting function to gift a work to the person who won your fanwork)

Refer to your fanwork as a gift (NOT commission or charity/gift commission) for your winner

You can't:

Say that you're participating in a current or upcoming charity auction and link to your auction listing (or anyone else's) in your author's notes, footnotes, or elsewhere on AO3

Call an MTH work a commission anywhere on AO3—instead, say that it's a gift for your winner for the Marvel Trumps Hate event

Solicit money by asking people to bid on you, encouraging donations to a charity and/or including a link to the charity or your auction listing, or mentioning that you take commissions (including charity commissions) on AO3

On platforms other than AO3, you're welcome to talk up your offerings, link to the specific charities that you're supporting through your auction offers, and share your (or others') auctions by reblogging your mthofferings.tumblr.com auction post or linking to your auction listings on the MTH website.

Why shouldn't you advertise charity auctions or use the word "commission" on AO3?

Using the right words matters.

MTH is proud to be inspired by other fandom charity auctions and positions itself within the long tradition of fans gifting fanworks and fan labor to each other. The auction event team members gift their time and talents to organize MTH, and fandom creators agree to gift their creative efforts in recognition of the donation that bidders make to the nonprofit organizations that are listed on our Supported Organizations page.

We want to make sure that people thinking about participating as creators and/or as bidders are 100% clear about what the auction involves and are confident about the integrity of the auction. One way of doing this is making sure that everyone knows how the money travels—directly from bidders to the nonprofit they're supporting, without ever being touched by MTH creators or the event team.

That being said, AO3 is not an advertising space and has Terms of Service around commercialization of fanworks (Section I. D5) that forbids any form of commercial promotion on AO3, even if it's for charity. This is not because exchanging money for fanworks is explicitly illegal but because the OTW legal team believes that one of the ways the archive can be protected legally, as both a collection of transformative works and as a nonprofit organization, is to have a firm "no commercial promotion" policy.

On charity events specifically, the TOS FAQ clarifies:

"The Archive will host fanworks of any origin, including fanworks created in response to charity drives or other challenges. A link to a charity drive to explain the origin of a fanwork is appropriate. Solicitation itself, however, should take place outside the Archive. We concluded that this policy was the easiest to apply fairly to everyone, given the wide range of possible solicitation activities." (AO3 TOS Content FAQ).

If you're reported by someone for soliciting on AO3 and found to be in breach of the TOS, you'll be emailed by their team, asking you to remove all the "commercial promotion" material (i.e., all the money-related words like "bid," "donation," or "commission") from the work, comment, bookmark, or profile in question. This includes tags, descriptions in author's notes, and comments on works. The Policy and Abuse committee doesn't screen fanworks; instead, all reports are made by users of the archive. That means that even though there may be places you violated these rules, the committee may not be immediately aware of it; however, as a violation can be found by a user and reported at any time, even from long, long ago, we encourage people to review the wording they used in reference to MTH—or any fandom charity events, for that matter—and make edits if necessary to be on the safe side.

Note: if this does happen to you, you can always appeal or ask for more time to rectify the issue so don't be alarmed. All Policy and Abuse reports are handled by real people who are volunteers for the organization.

We ask that you follow these guidelines so that if you spread the word about Marvel Trumps Hate on AO3, you do so in a way that won't cause you stress or trouble in the future.

If you ever lose track of this explanation and need to refer to it, we also have this information up on our website.

[brunettedelulu]

Feminism and Pop Culture: A Complex Interplay.

In the contemporary socio-cultural landscape, the interplay between feminism and pop culture is both intricate and profound. Pop culture, encompassing various media forms like film, television, music, and literature, serves as a powerful vehicle for disseminating and challenging societal norms. Feminism, as a movement advocating for gender equality and the dismantling of patriarchal structures, finds a fertile yet contentious ground within this sphere.

The Evolution of Feminist Representation :

Historically, pop culture has been a double-edged sword for feminism. On one hand, it has perpetuated stereotypes and reinforced traditional gender roles. The early decades of cinema and television, for instance, often depicted women as passive, subservient, or overly sexualized. Such portrayals not only mirrored societal biases but also contributed to their perpetuation.

However, the feminist movement's waves have progressively infiltrated pop culture, demanding more nuanced and empowered representations of women. The 1970s and 1980s saw the emergence of strong female characters who defied conventional norms, such as Ellen Ripley in Alien and Sarah Connor in Terminator. These characters marked a shift, albeit a gradual one, towards a more complex portrayal of women in media.

Pop Culture as a Platform for Feminist Discourse :

In recent years, pop culture has become an increasingly significant platform for feminist discourse. The rise of social media has democratized content creation and dissemination, allowing feminist voices to challenge mainstream narratives more effectively. Movements like #MeToo have leveraged pop culture to bring issues of sexual harassment and gender inequality to the forefront of public consciousness.

Television series such as The Handmaid’s Tale and films like Wonder Woman and Captain Marvel reflect and amplify feminist ideals, resonating with audiences globally. These narratives not only provide entertainment but also serve as catalysts for discussions on gender politics, power dynamics, and societal change.

The Commercialization of Feminism :

However, the relationship between feminism and pop culture is not without its complexities and contradictions. One significant issue is the commercialization of feminism. Brands and media companies often co-opt feminist rhetoric for profit, diluting its radical essence in the process. This phenomenon, sometimes referred to as "commodity feminism," risks transforming a movement aimed at systemic change into a marketable trend devoid of its original political potency. The feminist slogan t-shirts, empowerment-themed advertisements, and "girl boss" narratives proliferating in pop culture can, at times, reduce feminism to a mere aesthetic or consumer choice, rather than a sustained commitment to gender justice. This superficial engagement with feminist ideals highlights the tension between authentic representation and commercial exploitation.

Intersectionality in Pop Culture :

A crucial aspect of modern feminist thought is intersectionality, a concept introduced by Kimberlé Crenshaw. Intersectionality posits that various forms of oppression, such as racism, sexism, and classism, are interconnected and cannot be examined in isolation. Pop culture's engagement with intersectionality has been mixed, with some progress and notable gaps.

For instance, while there have been strides in representing diverse female experiences, much work remains to be done. The success of films like Black Panther and shows like Pose demonstrates a growing recognition of the importance of inclusive storytelling. Yet, the underrepresentation and misrepresentation of marginalized groups, including women of color, LGBTQ+ individuals, and those with disabilities, persist as critical issues.

Conclusion :

The intersection of feminism and pop culture is a dynamic and evolving terrain. Pop culture holds the potential to both challenge and reinforce societal norms, making it a vital arena for feminist engagement. As consumers and creators, it is imperative to critically examine the media we engage with, advocate for more authentic and inclusive representations, and resist the commodification of feminist ideals. By fostering a more nuanced understanding of gender and intersectionality within pop culture, we can contribute to a more equitable and just society. The journey towards this goal is ongoing, requiring vigilance, creativity, and a commitment to transformative change.

[proudfreakmetarusonikku]

honestly like I think going after people who use AI for hobbyist fun reasons is kind of missing the forest for the trees. while obviously there’s environmental issues and the inherent ethical issues (and I’m not even talking the content scraping by itself here, i also like don’t really give a shit if someone’s using my art for hobbyist fun as long as they’re not passing it off as their own it's obviously not great but if no one’s making money or anything off it and they’re not pretending they made it it’s relatively harmless- i'm talking about stuff like it’s ability to generate inappropriate content of actual irl kids) those again are like, mostly not coming from people using character.ai, which isn’t to say there’s no issues with the site (i heard it added voice shit and that’s a fucking nightmare this is not a defence of them) but going after chatbots isn’t really efficient when the issue is mass commercial scale usage of ai (which is the main environmental impact) which is extremely dangerous even outside of that bc ai is literally a pattern recognition machine and doesn’t know shit it cannot have initiative which means it does stuff like creative jobs really badly (bc it can generate a pretty image but that’s the least important part of stuff like advertising, which has tons of psychology behind it the ai cannot grasp) and the second it's giving any sort of advice or help it’s downright dangerous, from ai therapists encouraging eating disorders to ai plant guides encouraging eating extremely deadly mushrooms, bc it’s not sentient let alone sapient and can’t know shit. and also the child exploitation. like kids using character.ai are like the least of our problems and not actively being malicious give them actual support to find a better option and save your anger for people actually putting others in danger deliberately bc directing it at children is not going to actually help with any of the serious problems machine learning being used like it’s the next coming of Christ cause.

[iuliacaesar]

The reason why MF DOOM is underrated

Daniel Dumile was a British and American rapper and music producer who is considered an underground hip hop icon, as he never achieved mainstream success.

He used to be part of the rap band called KMD, but unfortunately one of their members, his brother, passed away, and he decided to continue his solo career wearing a mask and creating an alter ego, MF DOOM, inspired by Marvel's supervillain Doctor Doom, as he wanted to become the musical industry enemy, attacking with his music, characterized by complex lyrics, obscure references, and unconventional beats.

He mostly mixed hip hop with jazz and moreover he added some samples and cartoons dialogs embedded in his songs that explained his plan to revolutionize the music industry and stories about his alter ego, MF DOOM. Nevertheless, he didn’t just have that character, as he used some other alter egos, such as King Geedorah, the hip hop beast, Viktor Vaughn, the rapper for the mass and Metalfingers, referring to his producer facet. He also has done many collabs with many artists, Gorillaz, Madlib, Quasimoto and the Wu-Tang Clan among others.

However Dumile used many metarhymes that complicated its comprehension. His intricate wordplay, dense references to comic books, cartoons, and obscure pop culture made his music difficult for casual listeners to access, because he acted as a powerful villain, always in the shadows, ready to transform the fixed guidelines of hip hop and musical production and industry.

His choice to stay true to his artistic vision and refusal of mainstream standards, coupled with his enigmatic persona, kept him from achieving widespread commercial success, but it also solidified his status as a legend in the underground and among hip-hop purists.

MF DOOM often worked with independent labels and avoided traditional music industry practices, and his avoidance of conventional song structures, such as hooks or choruses, made his music less radio-friendly, further limiting his mainstream appeal.

While he’s celebrated as a genius in the underground hip-hop community, his influence is more subtle and less recognized by the mainstream. His contributions to hip-hop aren’t widely acknowledged outside of dedicated circles, leading him to be criminally underrated.

Unfortunately DOOM’s death in 2020 brought him much of this recognition that came posthumously, reinforcing the idea that he was underrated during his life. I’d like to finish this article highlighting his first ever solo album Operation Doomsday, where he starts talking about his evil plan, his masterpieces Madvilliany and MM…FOOD, full of samples and audio extracts from vintage cartoons and advertising and Take Me To Your Leader, his only album as King Geedorah and my personal favorite.

P.S.: shotout to this video that has helped me a lot with my research: https://www.youtube.com/watch?v=jvC0Epdz-yU

[aseriesofunfortunatejan]

I guess I can't help being annoying. I was born this way. But it actually makes me roll my eyes when people say "wow Vocaloid has gotten so realistic" when the program is something else (usually SynthV, I've also seen it for DiffSinger) when Vocaloid is a brand that is specifically not doing what its concurrence is doing in terms of realism and still sells way better than other programs because of its name recognition.

It's actually much more frustrating when the actual program is DiffSinger, an open-source, free program; non-commercial, by passionate fans for fans.

I don't think people are stupid for not knowing. That's normal. They can be informed. The issue is - you can get told off for informing them, no matter how neutrally or politely, because people think this is fandom discourse. I understand not being into the socially awkward thing that is correcting someone, and I understand that being too active on Twitter isn't very fun, but quite genuinely, we are talking about commercial products, from brands, which very literally real-world profit or suffer from this name recognition matter.

Personally, I don't want DiffSinger to be mistaken for a brand, because the fact that it's not a commercial product is GENIAL. At the same time, I know that it's unfair to YAMAHA's concurrence that YAMAHA gains free advertisement when their products are used.

[digitaldetoxworld]

The Power of Influencer Marketing: A Modern Strategy for Business Growth

 In the short-paced world of virtual advertising and marketing, influencer advertising and marketing has emerged as one of the most effective and powerful gear for constructing logo focus, attractive with audiences, and riding sales. As purchasers increasingly flip to social media for leisure, advice, and shopping decisions, influencers—people with devoted on line followings—play a pivotal function in shaping evaluations and traits.

Influencer Marketing Research 

What Is Influencer Marketing?

Influencer advertising is a shape of social media marketing that includes collaborations among manufacturers and influencers to promote products or services. Influencers are people who've mounted credibility in a selected area of interest and have the energy to affect buying selections due to their authority, expertise, role, or dating with their audience.

Influencer advertising and marketing goes beyond simple celebrity endorsements. While celebrities may additionally have a massive target audience, influencers commonly build accept as true with through direct interplay with their fans. This trust makes their tips extra personal, relatable, and impactful.

The Rise of Influencer Marketing

Over the beyond decade, the advertising and marketing landscape has shifted dramatically. Traditional advertising strategies—TV advertisements, print commercials, or even virtual banner commercials—are becoming much less effective as customers grow extra skeptical and use ad blockers or bypass commercials altogether. At the equal time, social media platforms like Instagram, TikTok, YouTube, and Twitter have exploded in reputation.

Influencers thrive on those platforms, generating content that resonates with their fans and feels real. As a result, brands see influencer advertising as a treasured possibility to attain target audiences in a way that feels natural and less intrusive than traditional advertising.

Types of Influencers

Not all influencers are created equal. They vary in phrases of follower matter, content kind, and area of interest. Here are the main classes:

1. Mega-Influencers

Typically celebrities or net personalities with over one million fans. While they provide extensive attain, their engagement fees can be lower, and partnerships with them can be expensive.

2. Macro-Influencers

With follower counts between a hundred,000 and 1 million, macro-influencers have a giant reach and often maintain some degree of personal engagement with fans.

Three. Micro-Influencers

These influencers have among 10,000 and 100,000 fans. They normally recognition on a particular niche, ensuing in higher engagement and consider among their audiences.

4. Nano-Influencers

With under 10,000 fans, nano-influencers might also appear small, but they often have extraordinarily engaged groups. Their pointers can experience very personal and credible.

Why Influencer Marketing Works

Influencer marketing works as it taps into the energy of phrase-of-mouth—an age-old method of marketing that remains one of the most depended on. Here are a few motives why it’s so powerful:

1. Trust and Authenticity

Audiences observe influencers because they like their personalities, content, and perspectives. When an influencer recommends a product, it feels like advice from a trusted friend instead of a income pitch.

2. Highly Targeted Audiences

Influencers often have niche audiences based totally on shared pursuits, making it easier for brands to target specific demographics or client personas.

Three. Content Creation

Influencers are skilled content creators. Collaborating with them permits manufacturers to access extremely good, attractive content that may be used across numerous marketing channels.

4. Improved Engagement

Influencer content material frequently garners better engagement rates than branded content material because it blends extra seamlessly into the social media revel in.

5. Cost-Effective

Compared to traditional marketing, influencer marketing can be more price-powerful, specifically whilst working with micro- or nano-influencers who deliver excessive ROI.

How to Build a Successful Influencer Marketing Strategy

To succeed in influencer advertising and marketing, manufacturers need a considerate and properly-achieved strategy. Here's the way to get started:

1. Define Your Goals

What do you need to reap? Awareness, engagement, lead generation, or income? Clear goals will guide your complete campaign.

2. Know Your Audience

Understanding your target audience helps pick out the proper influencers who communicate to that demographic and align with your brand values.

Three. Identify the Right Influencers

Look for influencers whose content aligns along with your brand, who've real engagement (not just high follower counts), and whose audiences match your goal market.

4. Establish Authentic Partnerships

Rather than dictating a strict script, deliver influencers innovative freedom to proportion your product in a way that feels natural to their target market. Authenticity is fundamental.

5. Set Clear Expectations

Outline the deliverables, timeline, key messages, hashtags, and disclosure requirements. Contracts assist avoid misunderstandings.

6. Track Performance

Monitor metrics consisting of engagement fee, reach, click on-throughs, conversions, and ROI. Use tools like Google Analytics, UTM hyperlinks, and social media insights to degree success.

7. Foster Long-Term Relationships

Building long-time period relationships with influencers can lead to greater proper and effective collaborations through the years. Audiences believe influencers who time and again use and propose a emblem.

Influencer Marketing Across Platforms

Each social media platform gives precise strengths for influencer advertising:

Instagram is right for way of life, style, beauty, food, and travel influencers. Stories, reels, and posts allow for innovative visuals and swipe-up links.

YouTube fits lengthy-form content material like evaluations, tutorials, and vlogs. It’s ideal for detailed product storytelling.

TikTok prospers on short, viral videos. It’s best for manufacturers targeting more youthful audiences and traits.

Twitter works well for thought leaders, tech influencers, and actual-time engagement.

LinkedIn is growing for B2B influencer advertising, in particular for professional offerings and SaaS products.

Challenges in Influencer Marketing

While influencer advertising and marketing is powerful, it is now not without its demanding situations:

Fake Followers and Engagement: Some influencers use bots to inflate their metrics. Tools like HypeAuditor or Upfluence can assist determine authenticity.

Lack of Transparency: Not all influencers properly expose paid partnerships, that could result in criminal or reputational troubles.

Measuring ROI: Tying influencer interest without delay to sales or conversions can be intricate without right tracking mechanisms.

Brand Misalignment: Partnering with an influencer who doesn’t align along with your values or tone can backfire.

The Future of Influencer Marketing

AI and Virtual Influencers: Digital avatars like Lil Miquela are gaining traction, offering new opportunities for futuristic campaigns.

Performance-Based Deals: More manufacturers are tying repayment to performance metrics like income and engagement in place of flat charges.

Social Commerce Integration: With platforms permitting in-app purchases, influencers can now drive direct income without customers leaving the app.

Increased Regulation: Expect tighter regulations round disclosure and transparency to protect consumers.

Best strategies for influencer outreach in 2025

Best Influencer Marketing Strategies 

[realinspirations]

"How to Build a Million-Dollar Business: Lessons from Successful Entrepreneurs"

Building a million-dollar business is an ambitious yet achievable goal, requiring a combination of strategic planning, execution, resilience, and adaptability. Below, I’ll outline a comprehensive guide that can help you turn your entrepreneurial vision into a reality.

How to develop a successful business plan for a million-dollar company"

Market Research:

Pain Points: What problems do human beings face in their each day lives, paintings, or pursuits?

Gaps inside the Market: Are there any unmet dreams or underserved niches?

Competitor Analysis: Who are your primary competition? What are their strengths and weaknesses? What are they NOT doing?

Value Proposition:

Unique Selling Proposition (USP): What makes your solution stand proud of the opposition? What is your "aspect"?

Customer Value: How does your product/service resolve a problem on your target audience? How does it improve their lives?

2. Validate Your Idea

Minimum Viable Product (MVP): Create a easy version of your product/issuer to check your assumptions. This may be a touchdown page, a prototype, or a limited initial imparting.   

Early Adopters: Seek out early adopters who're inclined to attempt your product/service and offer comments.

Data Collection: Track key metrics, along with website site visitors, purchaser acquisition value (CAC), and consumer lifetime fee (CLTV).

Customer Feedback: Actively solicit and pay attention to patron comments. What do they like? What may be improved?   

three. Build a Strong Foundation

Team Building: Assemble a talented and influenced group with complementary competencies.

Legal and Financial Structure: Choose the proper criminal form on your commercial business enterprise (e.G., sole proprietorship, LLC, business employer) and establish a sturdy economic foundation.

Operations: Develop green and scalable operations to deliver your product/issuer continuously and reliably.

4. Marketing and Sales Strategy

Target Audience: Define your ideal purchaser profile (ICP) in detail: demographics, hobbies, behaviors, ache factors.   

Marketing Channels:

Content Marketing: Create treasured and tasty content cloth (weblog posts, articles, videos, social media) to attract and educate your target marketplace.   

Search Engine Optimization (search engine optimization): Optimize your internet site and content to rank better in seek engine results.   

Social Media Marketing: Leverage social media structures to construct brand recognition, interact with customers, and run focused advertisements.   

Paid Advertising: Explore paid advertising alternatives together with Google Ads, social media commercials, and influencer advertising.

Sales Process:

Develop a clean and repeatable income manner.

Build sturdy purchaser relationships.

Provide remarkable customer support.

Five. Scale and Grow

Customer Acquisition: Continuously refine your customer acquisition strategies to build up new customers value-successfully.   

Customer Retention: Focus on retaining present clients through loyalty packages, personalised stories, and terrific customer service.

Product Development: Continuously innovate and beautify your product/provider primarily based on purchaser remarks and marketplace tendencies.

Funding: Explore investment options at the side of project capital, angel customers, and bootstrapping.

6. Key Strategies for Million-Dollar Success

Focus on Customer Value: Prioritize customer satisfaction and assemble lengthy-term relationships.   

Build a Strong Brand: Create a sturdy and recognizable emblem that resonates together together with your goal marketplace.

Embrace Technology: Leverage technology to automate strategies, enhance performance, and advantage a aggressive advantage.   

Build a High-Performing Team: Invest in your organization and create a high satisfactory and motivating art work surroundings.   

Adapt and Iterate: Be willing to conform to converting marketplace conditions and iterate in your enterprise model based totally on remarks and information.

7. Common Pitfalls to Avoid

Lack of Market Research: Jumping into a market with out thorough studies can result in high-priced mistakes.

Poor Execution: A terrific idea is best as appropriate as its execution.

Ignoring Customer Feedback: Failing to concentrate to consumer feedback can cause product/provider dissatisfaction and churn.   

Cash Flow Problems: Inadequate cash glide manipulate can fast cripple a enterprise.   

Overspending: Avoid vain costs and prioritize profitability.

Eight. Mindset and Persistence

Growth Mindset: Cultivate a boom mindset that embraces stressful conditions and sees setbacks as mastering possibilities.   

Persistence: Building a successful business takes effort and time. Don't surrender on your vision, even if confronted with obstacles.

Passion: Passion is essential for riding long-term success. Choose a industrial enterprise which you are absolutely captivated with.   

Continuous Learning: Stay informed approximately industry traits, exceptional practices, and new technology.

Nine. Examples of Million-Dollar Businesses

E-trade: Online shops like Amazon, Shopify, and Etsy.

Software as a Service (SaaS): Companies like Salesforce, Slack, and Zoom.   

Subscription Boxes: Companies like Blue Apron, Dollar Shave Club, and Stitch Fix.

Digital Marketing Agencies: Agencies that offer services along with seo, social media advertising and advertising and marketing, and content material material marketing.   

Online Education Platforms: Platforms like Coursera, Udemy, and Skillshare.

[rcvana]

  ꙰  𓈒 ˙ 𓍼 RAVANA’S DISCOGRAPHY : A DEEP DIVE

tw. flashing lights, photosensitive epilepsy triggers

RAVANA debuted in 2013 under HONEYMOON AVENUE with the hit single ROCK ME. The boy band went onto become the first and only successful artist under the label aside from the collaboration group TROUVAILLE (2016) to which they ultimately lost the rights to following a lawsuit in 2018. Ravana was met with what seemed like instantaneous success, angsty teenagers eating up the song like hot cakes. Honeymoon was completely shocked regarding their reception, genuinely not expecting them to take off as soon as they did—or take off at all. Ravana and their debut in it’s entirety was a shot in the dark. While all of the boys worked on the song, ICHIRO and producer ADDY were largely at work in the studio.

In 2014, Ravana released a major milestone within their early career, their first mini album CHRYSALIS, with the title track CAN WE DANCE? that was considered a chart monster at its prime. The album also featured promoted and popular tracks like NOBODY COMPARES and THEY DON’T KNOW. The tracks were even bigger than their debut and could be heard any and everywhere: on commercials, movies, YouTube videos, at the mall, the social media’s of youth all over, everywhere. Classified as pop perfection amongst fans, this era introduced the concept of the FRONT BOY. In Ravana, depending on the era, the lead would alternate between members, or as the fans nicknamed it: THE FRONT BOY. During Chrysalis, Kyrie was the front boy, which proved to be a smart move when his popularity skyrocketed among the fandom. He was easily the most biased member. Fans seemed to love him, favoring his mysterious persona, considering virtually nothing about his pre-debut days was publicized or talked about like his bandmates. The music video also gained extra attention when NATALIA HWANG fresh off of the set of her teen film BEACH HOUSE was casted as the love interest. With her following, she only further popularized the band’s video. Although, shipping theories went wild alongside this. This was also the era that sparked an onslaught of recognition from TUMBLR, the boys even being advertised by viewers as Tumblr Icons. The album sits at over 1 MILLION SALES.

FRONT BOY: KYRIE

Riding off of the success of their previous release, Ravana came out with the single CONFIDENT in 2014. Confident was heavily praised for it’s slick, pop-r&b sound, feeding into the image already surrounding them. RAVE’S were huge fans of their new sound, raving (no pun intended) about it’s darker tones and blush-inducing lyrics. Earning Front Boy for a second era in a row, Kyrie began to pick up his pen and get to work on Confident. He both wrote and produced Confident, and you could tell by how different the sound was compared to distributions prior.

FRONT BOY: KYRIE

In 2015, Ravana released the Extended Play DREAM DAZE. Of course, Dream Daze went onto be an utter success, selling over 2MILLION units in total. The era of Dream Daze had two Front Boy’s and was generally lead by Ichiro in PERFECT and Kyrie in SOMEBODY TO YOU. The music video for Somebody to You had a special appearance from POISON’S HAYOON, which of course sparked dating rumors and shippers to go wild. Some shippers having insufferable debates about who was the better ship: Natalia and Kyrie, Hayoon and Kyrie, or Eunki and Jamie. There were even a slew of in-group shippers, pitting pairs like Eunki and Jamie and Ichiro and Kyrie (if they weren’t being shipped together, they were being pit against each other) against one another. Aside from these odd antics, the band went onto have a commercial success on their hands, only furthering their path.

FRONT BOY: ICHIRO / KYRIE

2016 came their biggest release yet, with the release of their first full-length album OUT OF TIME. Preceding the albums release, a pre-release single was put out by the title of TREAT YOU BETTER, which was later featured as a track on the work. Treat You Better sent fans into an orbit, constantly tweeting about how excited they are for D-DAY, even starting the semi-viral trend: EVERYBODY KNOWS WHERE THEY WERE WHEN OUT OF TIME DROPPED, followed by either a funny picture of their current situation while they stalk the release of the album, or a chance to take a cute selfie directed at Ravana, desperately hoping for a Y/N moment.

Speaking of Y/N moments, this era sparked the infamous ever-controversial recurring occasion of KIMOON flirting with fans. He regularly would call them pretty during fan-meeting events, comment on pictures, and talk to them almost as if they were his girlfriends or partner. There were mixed opinions about this.

When Out of Time finally dropped, you bet the internet probably broke for the first few hours. I KNOW WHAT YOU DID LAST SUMMER is probably still their most popular song to date racking in over 500 MILLION VIEWS. The track included a feature from TROUVAILLE’S BRIAR, who had just debuted not too long before the collaboration. If the tracks on Chrysalis were everywhere, then the tracks on Out of Time were like the plague. I Know What You Did Last Summer constantly topped charts alongside the side tracks like WILDFIRE and APOCALYPSE. Out of Time went onto sell the most units compared to all other releases, sitting at over 7 MILLION SALES.

FRONT BOY: N/A ... KYRIE

Ravana took MUSICAL.LY by storm in 2017 with the single PERSONAL. The music video featured an appearance from WITH LOVE!’S ICHIKA as the love interest. While the song was a virtual hit, the boys weren’t too fond of its generic sound. KYRIE never went a moment without mentioning his disdain for the song and actually protested against its release. However, they redeemed themselves in the summer, coming back with the Extended Play PASSIONFRUIT. The song was mostly written and produced by Kyrie and Kimoon. This came with another trend created by fans, naming summer a “PASSIONFRUIT SUMMER.”

FRONT BOY: EUNKI / KIMOON

Ravana geared up with their first mini album in 2018 by the title NO CALLER ID. This year brought on a fan favorite era for the quintet. Kyrie wrote and produced majority of the album and stated that all releases this year were some of his favorites for the band. FRIENDS performed incredibly well on charts and with the public. No Caller ID is still regarded as one of their best albums musically and statistically. Their second release came in the later part of 2018 with the mini album POLARIZED. This was also a Kyrie-written album, also a fan-favorite album. SWIM and Friends were constantly battling for top 5 spots on the charts.

FRONT BOY: KYRIE

2019 came the release of the single DOUBLE BACK. The song was excessively popular with the masses, peaking at #1 on charts and garnering a plethora of streams. Double Back even had a viral dance trend on TIKTOK. This song was a very collaborative piece of work, the studio process being their favorite session ever. They filmed the recording process and showed that this era was probably the most fun they’d had working on a project even down to the music video. Although, around this era the boys ventured into solo activities, working on projects of their own more-so than group promotions. This lead to nearly two years of musical silence from the band as a whole.

FRONT BOY: KYRIE

After their unofficial musical hiatus as a band, Ravana came back in 2021 with the single NOBODY BUT YOU FT. CHARMEINE. The collaboration was a huge deal with the public, considering PINKETTES’ Charmeine was already embroiled in dating rumors with KYRIE. The fact that Kyrie wrote the lyrics for the song only fueled the rumors, alongside the Instagram lives they did together and other questionable interactions that they swore were just platonic and delusional fans warding off the theory that their fave could possibly be attracted to a pretty girl that isn’t them. Aside from this, the single was a smashing success, in spite of it’s minimal official promotion.

FRONT BOY: KYRIE / KIMOON

[minjaefreedom]

came across this small opinion piece and they just said what i've been thinking so well:

In the episode of the podcast I just posted, one of my guests says that, traditionally, one of the important elements of Kpop was the intertextual relationships. We see group members on variety and dramas and commercials and get to know them through these lenses, adding another dimension to our enjoyment of their songs and performances. These media appearances also bring in new fans to the group. [...] This is a very traditional way for idol groups to become popular.

So, let’s circle back to Cha Eun Woo. He’s not a dance, rap, or vocal ace but he has something equally valuable to Astro--numerous and popular drama roles and brand endorsements. Cha Eun Woo is known the way idols used to be known. His extremely handsome face isn’t just some random idol on a birthday advertisement in the subway, it’s recognizable by normal people. Cha Eun Woo is a huge asset to a group like Astro. His popularity not only brings new fans to Astro but also helps open doors for other members. “Oh, he’s in Cha Eun Woo’s group” is a much more compelling hook for the average viewer than “Oh, he’s in one of the dozens of idol groups I’ve never heard of and have no connection to and whose name goes in one ear and out the other like a puff of smoke.”

I’ve written about this before but views, streams, physical album sales, etc. are transitory measurements. These numerics that the young generation of fans have been trained to see as the ultimate prize are just numbers. It’s understandable that fans are being encouraged to value numerics by the big Kpop companies because it keeps fans engaged on the fandom treadmill, buying and streaming and spending hours voting on music show apps like their lives depended on it. But it’s not all that valuable to the idols themselves--certainly not as valuable as having a member who is known by the general public for his drama roles and handsome face. I don’t know where the idea that every group needs to have attention evenly divided or that one member can’t have solo work if others don’t have solo work entered into fandom but I have my suspicions. While there’s nothing wrong with fans advocating for their favorite member to have more solo work, I do think there’s something wrong with fans advocating to hold a member back as I’ve sensed has been the case from certain corners with Cha Eun Woo. The long term health and success of a male idol group in the mold of SMAP--which is what very much Astro is--depends on the members having strong individual images and brands outside of the group. The idea that the members have to do everything together at all times is unworkable in the long run just as the idea that a group can rely completely on the obsessive streaming and viewing and buying of a core group of fans is unworkable in the long run. This new generation of foreign fans has lost those intertextual connections. “KPop” has increasingly become isolated not just from old subculture spaces where fans mixed with anime and Jpop fans but even from mainstream dramas and variety shows and Korean show business, generally. It’s led to this odd bubble where the most popular groups among stans barely even have name recognition in Korea outside of Kpop fandom. It wasn’t always like this.

[sakushamishou]

Isekai has officially made it into more mainstream western media with Ilona Andrews having signed a deal for an isekai with Tor in the 2024 and Orbit releasing "Long Live Evil" by Sarah Rees Brennan in 2024*. While manga and anime have become more mainstream in recent years, they're still fairly niche with younger generations being the most familiar with them. Western authors publishing traditional books in the genre signals a shift in isekai from the niche to the mainstream as more people are willing and likely to approach media in forms they're familiar with (and that reside in the parts of the bookstore/library they're familiar with). I believe this is a part of the recent trend in media for, what we'll call "cozy" media for the sake of this post, which has gained increasing traction since the pandemic.

While isekai are not technically "cozy" in quite the same way as something like Legends & Lattes or Floating Hotel, it is reassuring in much the same way. Reading an isekai, we have deep confidence in our main characters power and ability to overcome difficult situations, especially some of the most popular ones such as "That Time I got Reincarnated as a Slime." We, as readers familiar with the genre, know that our main character is OP and can handle anything the world throws at them (there are exceptions to this, but its generally made quite clear in the beginning if the main character will have a bitter struggle such as the villain/villainess trope). And this is a relief in the same way that a novel advertised as "cozy" is a relief, we know our main character will handle whatever is thrown at them and that aspect of suspense or tension is removed or decreased substantially and the question becomes not will they survive, but how. It helps that the how is generally highly entertaining, if not outright ridiculous.

Isekai as a trending genre in Japan is not a new thing, but it seems to be consistently trending more in the west in the past couple of years. One only needs to look at the top new anime or webtoons to see dozens of isekai. (Commercial success is one part of how new series come to be, so if isekai were not popular, we would expect to see fewer new series in the genre overall.) It also corresponds with a rise in recognition of feel good and dare I say, cozy, anime like Frieren or Dungeon Meshi/Delicious in Dungeon, which are trending more than ever. These series are comfortable in their simplicity and their familiar plot structure.

We as readers have experienced a cultural shift with cozy series topping charts both in western media and media from abroad. I'd argue that part of the shift is due to the pandemic with it's global and cultural shifts, but also due to the ongoing social, cultural, and global changes we're experiencing. Between the war between Russia and Ukraine, the ongoing attacks on Gaza, global warming/climate change, the US's shrinking middle class, and increased cost of living, I think it's fair to say that for many, things don't feel as hopeful or certain as they did a year or two ago, let alone pre-pandemic. As we face these events, we want to read something comfortable. We want to escape from the pressing fears of now.

These cozy, feel good series are trending, at least in part because we are stressed and anxious and as a result we're seeing an uptick in cozy or otherwise comforting genres. Compared to pre-pandemic, I believe we're seeing a decrease in trending media with heavy, uncomfortable or difficult themes like Death Note, Tokyo Ghoul, Attack on Titan, or Full Metal Alchemist. We've finished those series that were in progress and maybe rereading them, but are not necessarily picking up new ones at the same rate.

So we see more and more people reaching for cozy, comforting fiction and contributing to this trend. And going back to our mainstream published novels, we are seeing a shift in western publishing to reflect this trend. Books were not traditionally marketed as cozy or isekai, despite some western novels previously fitting into these categories to some degree*. We're seeing a shift in both our consumption and marketing of literature to reflect these trends. I imagine we'll be seeing more isekai novels published by major western publishing houses in the future, particularly if the two mentioned do well. I anticipate the one by Ilona Andrews will do well, given their ongoing success, rabid fan base, and the fact that it's a seven figure deal, despite the author's concerns it may not be commercially viable.

*While there have previously been western novels that can be classified as isekai such as Alice in Wonderland or A Conneticut Yankee in King Arthur's Court, both the novels mentioned above appear to feature more of the familiar tropes that typify a modern isekai. I know Ilona Andrews, in particular, is VERY familiar with the modern isekai genre typified by manga and webtoons.

[marveltrumpshate]

Talking about Marvel Trumps Hate on AO3

We love it when folks spread the word about Marvel Trumps Hate—the more people take part, the more money we raise, all of which goes to amazing charities!

We encourage all creators to shout from the rooftops (and their social media platforms) that they're participating in the auction, so people can check out what's on offer. We also really appreciate when creators acknowledge that their work was made for MTH to create awareness after the auction ends.

However, if you want to talk about MTH on AO3 specifically, there are a few things to keep in mind about how you're talking about the auction and your involvement so that you don't break any rules. We don't want you to get into trouble!

You can:

Say that your work was created for Marvel Trumps Hate

Provide a link to the MTH Tumblr, Twitter, or website to explain why a fanwork was created (we also encourage you to post to the appropriate annual MTH collection and use the gifting function to gift a work to the person who won your fanwork)

Refer to your fanwork as a gift (NOT commission or charity/gift commission) for your winner

You can't:

Say that you're participating in a current or upcoming charity auction and link to your auction listing (or anyone else's) in your author's notes, footnotes, or elsewhere on AO3

Call an MTH work a commission anywhere on AO3—instead, say that it's a gift for your winner for the Marvel Trumps Hate event

Solicit money by asking people to bid on you, encouraging donations to a charity and/or including a link to the charity or your auction listing, or mentioning that you take commissions (including charity commissions) on AO3

On platforms other than AO3, you're welcome to talk up your offerings, link to the specific charities that you're supporting through your auction offers, and share your (or others') auctions by reblogging your mthofferings.tumblr.com auction post or linking to your auction listings on the MTH website.

Why shouldn't you advertise charity auctions or use the word "commission" on AO3?

Using the right words matters.

MTH is proud to be inspired by other fandom charity auctions and positions itself within the long tradition of fans gifting fanworks and fan labor to each other. The auction event team members gift their time and talents to organize MTH, and fandom creators agree to gift their creative efforts in recognition of the donation that bidders make to the nonprofit organizations that are listed on our Supported Organizations page.

We want to make sure that people thinking about participating as creators and/or as bidders are 100% clear about what the auction involves and are confident about the integrity of the auction. One way of doing this is making sure that everyone knows how the money travels—directly from bidders to the nonprofit they're supporting, without ever being touched by MTH creators or the event team.

That being said, AO3 is not an advertising space and has Terms of Service around commercialization of fanworks (Section I. D5) that forbids any form of commercial promotion on AO3, even if it's for charity. This is not because exchanging money for fanworks is explicitly illegal but because the OTW legal team believes that one of the ways the archive can be protected legally, as both a collection of transformative works and as a nonprofit organization, is to have a firm "no commercial promotion" policy.

On charity events specifically, the TOS FAQ clarifies:

"The Archive will host fanworks of any origin, including fanworks created in response to charity drives or other challenges. A link to a charity drive to explain the origin of a fanwork is appropriate. Solicitation itself, however, should take place outside the Archive. We concluded that this policy was the easiest to apply fairly to everyone, given the wide range of possible solicitation activities." (AO3 TOS Content FAQ).

If you're reported by someone for soliciting on AO3 and found to be in breach of the TOS, you'll be emailed by their team, asking you to remove all the "commercial promotion" material (i.e., all the money-related words like "bid," "donation," or "commission") from the work, comment, bookmark, or profile in question. This includes tags, descriptions in author's notes, and comments on works. The Policy and Abuse committee doesn't screen fanworks; instead, all reports are made by users of the archive. That means that even though there may be places you violated these rules, the committee may not be immediately aware of it; however, as a violation can be found by a user and reported at any time, even from long, long ago, we encourage people to review the wording they used in reference to MTH—or any fandom charity events, for that matter—and make edits if necessary to be on the safe side.

Note: if this does happen to you, you can always appeal or ask for more time to rectify the issue so don't be alarmed. All Policy and Abuse reports are handled by real people who are volunteers for the organization.

We ask that you follow these guidelines so that if you spread the word about Marvel Trumps Hate on AO3, you do so in a way that won't cause you stress or trouble in the future.

If you ever lose track of this explanation and need to refer to it, we also have this information up on our website.

[valetinas]

Ngl one thing that has bothered me from sing like the movie about singing animals competing for 100,000. Why was he broke? Like he had a gigantic theater he could’ve rented it out as like a venue for concerts like it’s gigantic there’s no way no big singer wanted it. They could’ve had some community theater and charge like five a ticket and have good advertising. They could’ve held big events like ceremonies or award shows for rich people like it’s a big theater with a lot of space it’s pretty there’s no way NOBODY at all didn’t want to rent it out like…? Maybe he wasn’t a good business guy or something like he couldn’t have invested in a commercial or something to spread the word about his theatre so rich famous people knew? Loans man. So much opportunity and he used it on some scam? Like he could’ve pretended it was to get people more recognition and charge like fifty-hundred dollars to get them to make a professional audition and get them more recognition to start up an acting career. You can’t tell me in that big city nobody wanted to be an actor or singer. They could’ve easily held a couple tours or award shows or even a game show for that matter with the right advertising like no way flyers was all it took for people to take hours out of their day to preform like yeah money but a commercial or going on the news like those people selling stuff would’ve done the trick like come up with a slogan man or a logo and get more people to recognize your business for more profit. I’m pretty sure he didn’t pay for a big theatre out of pocket he would’ve used loans yeah debt but extend those loans win win bank gets more overall money from you and you get less amount needed to pay every month. Even so the second he figured out the error he could’ve been like “my bad yall it’s only 1,000” like I bet at least two or three people would’ve stayed like it’s free money and it’s not a little yknow like he HAD to go with the lie??