Dominik Karaman

NClip

Co-Founder & CMO

eekigai Labs

We are a creative consultancy guiding companies through the next evolution of consumer experiences.

Founder

NO BLUEPRINT Podcast

Venture into the uncharted realms of digital marketing, consumer experiences, and Web3 with us. As we push boundaries and redefine paths, we challenge the norms and craft the future without a set blueprint. Dive deep, get insights, and join the conversation on evolving digital landscapes. No guides, no limits, just exploration.

Voice

AIDDROP

Donate with Crypto or EUR to verified organizations to receive a digital "Proof of Donation" Token, granting access to our open-source ecosystem.

CMO / Head of Web3 Strategy

STARTPLATZ

Mentor for the Web3, Metaverse, and NFT Startup Accelerator Program.

Mentor

ᵍᵐ 🫡 Shaping the Future of Consumer Experiences with Web3, Creative Tech & Design.

Pete Madigan

ARC-H1VE

At ARC-H1VE, we empower artists to turn remixes into revenue streams. It’s your remix, your earnings, your legacy. Collaborate with confidence, knowing your creativity is protected, and that you can earn continuously from every track.

I’m looking to connect with music industry professionals—catalogue owners, distributors, labels, and artists—who are interested in finding new ways to unlock revenue from every remix. Let’s chat about how we can make sure your creativity gets the earnings it deserves.

Strategic Partnerships | A&R 

Next Wave Culture 

Subscribe: 👉 https://bit.ly/Next-Wave-Culture 

I support Web3 companies in their growth journey with copywriting, thoughtful marketing strategies, and tailored growth advice. Through detailed reports, GTM planning, and product-market insights, I've had the privilege of contributing to the growth of Crossmint, MoonPay, Beatport.io, and Exclusible. It's my passion to help these innovators flourish in Web3 offering them the guidance and support they need to succeed. 

Additionally, I've recently crafted the opening book in a series for kids centered on two pudgy penguin pals, mixing entertainment, life morals, and lessons on the environment.

Web3 Consultant / Copywriter / Connector 

Staar Player Music Group

As Head of Content and Strategic Partnerships at Staar Player, I manage our content strategy and develop partnerships with brands, agencies, and music companies. 

I collaborate with content creators, artists, and producers, and I'm exploring how we can integrate AI into our projects to keep Staar Player at the forefront of innovation. 

Staar Player is uniquely positioned to help companies and brands interested in developing relationships within the electronic music industry. So, if you're a brand, agency, or work in AI music app development and want to connect, feel free to reach out.

Head of Content & Partnerships | Co-Founder

AI Ship

Artificial Intelligence is changing the game, and keeping up with what's possible is tough. At AI Ship, we're here to help you understand how best to use AI as part of your business strategy going forward. 

Your business is unique, and it's important to us to understand what makes it special. We'll help you identify trends and opportunities for growth so that you can use AI to save time and money.

If this sounds like something that would be helpful for your company, get in touch!

Strategic Advisor

Beatport

Coming soon, Beatport.io is a next-generation platform dedicated to exploring the future of electronic music culture. A place for your favourite artists and labels to experiment with new forms of creative expression and musical formats. Your opportunity to collect unique pieces of art that shape the culture that drives us.

Web3 Strategist + Copywriter 

Crossmint

Working in Business Development at Crossmint, my goal is to help NFT creators reach their full potential by offering them a suite of tools that simplify the process.

Our core product is a credit card checkout for NFTs. Setting it up takes only 5 minutes, is free, and enables anyone to buy your NFTs in 1 minute using credit card, even if they don't have a wallet! 

We have a broader suite of tools for creators and enterprises, most of which are free, like minting APIs, whitelists, custodial wallets, and token-gating. 

We have a team of 15 engineers ex-Whatsapp, Facebook, Amazon, Uber, Instagram, and other great companies, and have helped 1.000+ creators and enterprises, like Magic Eden, Exclusible, Moonwalk, and Sylvester Stallone.

Growth and Partnerships

Fuel4You

Founded in 2019 with the team split across London, Los Angeles and San Francisco, Fuel4You is a team of health-focused individuals on a mission to empower wellness worldwide by educating about preventative health and wellness.

We’re a company dedicated to eco-friendliness and sustainable living that designs and creates high-quality products that not only match but exceed your needs.

Inspiring others to take better care of both their health and the planet.

We believe Hemp has the power to save our planet and we will be documenting the growth and development of all aspects of the Hemp and Cannabis industry.

Co-Founder

iFUSE Drinks

Helped take iFUSE from an idea through to launching a luxury wellness brand at a villa party in Ibiza in under 3 months. 

As well as live musical performances, guests were educated about the potential health benefits of CBD and offered CBD infused cuisine, CBD massages, as well as CBD Cocktails, mocktails and tote bags full of CBD products.

Managed the brand creation process with agency from concept through to a printing on 2000 bottles in 10 days.

Founding Partner

ShadowVision Media

ShadowVision is at the intersection of brands, artists, and content, delivering creative solutions for some of the biggest names in music.

Fusing creativity with technology, we tell stories through compelling visual media aimed at the connected generation.

This includes a mix of iconic music video productions, live performances, behind the scenes documentaries and promotional video content for brands, artists and events.

Across Ibiza, Miami, Hong Kong, Singapore and Japan we have interviewed some of the biggest names and influencers in popular music culture including Disclosure, Jamie Jones, The Martinez Brothers, Martin Garrix, Hardwell, Afrojack, Jackmaster, Skream, Black Coffee, Claude Von Stroke and many more.

BDM / Producer / Strategist

UGroove.TV

A video and music sharing social website. Think back and imagine 'MySpace meets YouTube for the electronic music scene.'

Formed a team of cameramen, editors and motion graphics professionals. Cultivated relationships with some of the leading players in the scene. Leveraged new partnerships and allowed the business to widen its target market. Introduced artists and brands to a global community of music fans.

Created viral content and delivered brand initiatives for:

● Sennheiser 
● Monster Headphones
● Olmeca Tequila
● Mixmag
● Native Instruments
● Circoloco
● BPM Festival
● Space, Ibiza
● Glastonbury
● One Beat
● Dirtybird Records
● Seth Troxler 
● Loco Dice
● Jamie Jones
● Maceo Plex 
● Miguel Campbell
● Art Department
● Claude Von Stroke 
● Ushuaia & many more

Founder / Business Development Manager

I help brands, publishers, and Web3 projects stand out and scale through strategic partnerships, go-to-market strategies, and compelling content that drives real impact. Whether it's crafting a powerful narrative, building high-value collaborations, or unlocking new revenue opportunities, I connect brands with culture in a way that resonates and converts.

As Head of Partnerships & A&R at Arc-H1ve, I’m helping artists, producers, and catalog managers turn remixes into revenue with fair and continuous monetisation models. If you want to maximise your earnings, protect your rights, and tap into the future of music monetisation, send me a message.

✅ BMG
✅ AIAIAI
✅ Alpine
✅ Mixmag
✅ Monster
✅ Paradise
✅ Beatport
✅ MoonPay
✅ Circoloco
✅ Crossmint
✅ Exclusible
✅ Sennheiser
✅ Matchchain
✅ Olmeca Tequila
✅ Spinnin Records
✅ Nerds Collective
✅ Native Instruments
✅ Ultra Music Festival
✅ Telegrapher Speakers

Curious to learn more? 

Send  me a DM → Let's chat.

NFT Strategist

I help companies get the most out of their NFT and Web3 strategies.

I believe that by expanding your business to include NFTs, you are ensuring its future success.  Why? Because NFTs are the key to reaching a whole new generation of customers.

But for many businesses, it's hard to know where to start. I help individuals and companies find their NFT footing by recruiting the necessary team for the project including designers, developers, community managers and top thought leaders in this field.

Feel like it's time to take your business to the next level with NFTs?  

Send me a message and let's setup a call.

I also have a wide network which I call my 'decentralised growth network' featuring top thought leaders that I speak to daily.  

If you would like to be put your name forward to be added to this growing list, send me a DM with 3 bullet points about yourself.

Sony, Universal and Warner print money from the same 3 income streams. Most artists miss at least 1. Here are the 3 income streams that matter.

→ Sync
→ Mechanicals  
→ Performance royalties  
 
But to collect from all three, you need to understand how songs actually work...

Publishing is ownership.
Your catalog is a set of assets.
Each song earns every time it’s used.

And every track has 2 parts:

1. Composition
The melody and lyrics.

2. Master
The recording.

You can earn from either.
You earn more if you control both.
And those 2 parts feed the 3 income streams:

1. Mechanicals: Streams, downloads, physical sales

2. Performance royalties: Radio, TV, venues, digital platforms

3. Sync: Film, ads, games, trailers (requires both composition + master clearance)

Where it gets messy is the money flow.
Different groups collect different pieces.

Sync → Publishers or sync agents.
Mechanicals → Collection societies (MLC, HFA, MCPS).
Performance royalties → PROs (ASCAP, BMI, PRS).
 
If a song isn’t registered, it doesn’t earn.
If metadata is wrong, money gets lost.
If admin is sloppy, value disappears.

Publishing keeps your songs earning in the background.

This visual shows the full money flow so you know exactly where revenue comes from. Your catalog generates income in three ways. 

The key is collecting all of it.

🤔 What's the part of publishing you still see people misunderstand the most?

Follow Pete Madigan and vers1ons for more breakdowns like this on how artists earn from music.

Pete Madigan 

Connecting bold brands to music culture | Developing artists + partnerships @ vers1ons | Ghostwriting what founders wish they could say ✍️

The music industry survived Napster, iTunes and Spotify. AI is a different beast. This breakdown shows the shift.

Every music format war followed the same playbook. 

Until one didn't. 

For more than 60 years, every major shift in music followed the same cycle. 

A new format arrived. 
The industry resisted. 
Consumers adopted it anyway.
There was a shift in economics. 
As a result, new winners emerged. 
Old players either adapted or vanished.

Vinyl, cassette, CD, downloads 
and streaming all fit this pattern. 

Each disruption changed how music was consumed, but not who created it or how creation worked. The core mechanics stayed the same. 

Someone recorded music. Labels controlled distribution. Consumers bought or accessed it.

AI changes who creates it. 

Every previous disruption made music cheaper to access. This one makes it cheaper to produce.

Suno now generates more than 7 million songs per day.

At that pace, it recreates Spotify's entire 100-million-song catalog, a collection that took 17 years to build, every two weeks!

That flips the supply model on its head.

When creation becomes limitless, 
taste becomes priceless.  

Infinite songs are not the threat. 
Forgettable songs are. 
 
It's not about releasing more. 
It's about making music people return to.

Taste becomes your edge when the feed is endless.

🤔 Which music format gave you your happiest memories?

PS. Follow Pete Madigan and vers1ons for more posts that make sense of how music keeps evolving.

SoundCloud. Apple Music. Spotify. Tidal.
Same streams. Different money.
This post explains why.

Most artists think streaming pays a fixed rate per play.

It doesn’t.
There is no universal “per stream” price.

Each platform works the same way at the top level and very differently underneath.

This is what determines your streams' value.

1. The platform
Apple Music and Tidal are mostly subscription money.
Spotify leans heavily on ads.

Subscriptions = more stable payouts.
Ads = cheaper and unpredictable.

That’s why Apple and Tidal usually pay more per stream.

SoundCloud works slightly differently. It pays based on who actually listens to you, not overall charts.

2. Where your listeners are
A stream in the US or UK is worth more.
A stream in lower priced territories pays less.

Same song.
Same plays.
Different countries.
Different money.

3. Your setup
Label deal. Indie release. Distribution cut.

Two artists can hit the same numbers
and see completely different payouts
because the money splits before it reaches them.

Every stream pays multiple rights holders.

✓ Master rights (the recording)
✓ Publishing rights (the song itself)
✓ Three separate royalty types from each play

If your music isn’t registered properly
or your metadata is wrong
parts of that money never reach you.

Not because the platform didn’t pay.
Because the system couldn’t find you.

Streaming makes more sense 
once you see how the money moves.

Streams are the input.
Your rights and setup decide the output.

This visual shows where streaming money actually comes from and why it changes month to month.

This is where leverage lives:

Own more.
Keep more.
Collect everything.

🤔 Does this feel like a reasonable way artists get paid?

♻️ Share this with someone who needs it.
Follow Pete Madigan and vers1ons for more breakdowns like this on how artists earn from music.

MTV shaped taste. TikTok remixes it. Roblox redefines it. This visual shows the evolution.

We’re already living in the new discovery era. 

It hit me in the car yesterday.
 
My 8 year old niece was scrolling through her Spotify playlist. I asked her to play her favourite track.

Instant answer: 

"Hey Lover" by The Daughters of Eve. 

A track from 1966 she had no reason to know. And yet she knew every word.
 
So I asked how she found it.
She didn’t even look up.

“Roblox recaps.”

That got me thinking..
 
People don’t find music in one place anymore. 
Now discovery hits from every angle.
 
Games.  
Feeds.  
Apps.  
Chats.  
Videos.
 
We grew up with lanes. Radio. MTV. Playlists.
Today it comes from everywhere at once.
 
So I mapped the jump from radio to Roblox. If I were an artist starting today, here's where I would start.

→ TikTok for ignition (15-30 sec hooks)
→ vers1ons for remixes (coming early 2026)
→ EVEN for direct to fan sales (no middleman)
→ Spotify for long-term depth (playlist pitching)
→ Roblox for ambient discovery (sync opportunities)
→ YouTube Shorts \ IG for scale (repurpose winners)
→ un:hurd music for data driven early signals

Artists used to chase a big break. 
Now they can engineer momentum.  

A break is luck. Momentum is probability.  
Increase the reps and the odds tilt your way.

🤔 What's the weirdest place you've discovered a song recently?

Follow Pete Madigan and vers1ons for more on where this is all headed.

Long before TikTok sounds, Akon identified the highest-margin unit of music and generated $55M selling 15 seconds at a time.

At the time, it didn’t make sense.

Full songs sold for $1.99.
That was the model.

But 15-second ringtones sold for $4.99.

Same song.
Smaller slice.
More money.

Most artists ignored them.
Ringtones felt disposable.
Not 'real music'.

Akon leaned in.
He checked his contract.

Ringtones lived outside the contract.
No clause. No split. No label waterfall.
So he built around it.

Hooks that hit instantly. Melodies you recognised before the phone left your pocket.

Songs designed for seconds.
Built for how people actually used music.

While others chased charts and radio spins,
Akon chased behaviour.

By December 2007, the numbers told the story.

11 million ringtones sold.
A Guinness World Record.

At $4.99 each, that’s roughly $55M in gross sales.

Same catalog.
Different container.
Completely different outcome.

The songs weren’t the leverage. 
Ownership was.

Because ringtone revenue wasn’t buried in his deal,  the money flowed to him.

Most artists saw 10–15%. Akon captured the majority of the revenue because he owned the rights.

Music stopped being something you listened to. It became something you used.

That behaviour never went away. 
It just changed platforms.

Ringtones became TikTok clips.
Clips turned that habit into culture.

Same behaviour.
Different pipes.

Artists who win long-term don’t just make good music. They understand how culture uses it. And own the rights to profit when it does.
 
Pipes change. 
Ownership decides who wins.

📹 X @ AsakyGRN
♻️ Share this with someone who needs it.
Follow Pete Madigan and vers1ons for more breakdowns like this on how artists earn from music

Not enough sleep. Too much coffee. 
Too many ideas still bouncing around my head.

Just back from ADE.
Still fried. Still smiling.

There’s no week like it.

The last few days?

Back-to-back-to-back meetings.
Impromptu coffees that turned into pitch sessions.

One remix conversation that might reshape a catalog strategy in Asia.

You walk into a bar for one drink and end up in a licensing chat with someone who just came off stage.

You queue for coffee and realise the person next to you runs one of the biggest EDM labels in the world.

You take a wrong turn next to a canal and find yourself deep in conversation about the future of music in Japan.

No agendas. Just good people, good timing, and the right conversations.

Grateful to everyone I met.

Planned meetings, unexpected run-ins, quick chats that turned into something real. Some of those moments will stick with me for a long time.

Being out there with the vers1ons crew: David Johnston, Daniel Posner, Amanda Hendy + Ben Gordon-Pound made it even better.

After so many Zoom calls, being with the vers1ons team in person hit different. 

5 days of movement, music, and a lot of smart heads around one mission. Proud to be building with them.

Remixes aren’t just having a moment. They’re rewriting how rights, revenue, and culture move. 

Bullish on what we are building and what's coming next.

Big respect to the people building new things and pushing the space forward. 

Tagging some people below, but if we crossed paths and had a moment, thank you. Let’s keep it going.

Anders Grahn, Isabelle Fallmann, Rik Woldring, Guillaume de Lavenère, Scott Cohen, Simone G., James Cattermole, Gareth Deakin, Andrew Batey, Rishi Patel, Morgan Evans, Eric van der Kwast, Lee Morrison, Shauna Slevin, Samuel Russell, Dave﻿﻿ Heugel, Kimberly Dickson, Eóin Smyth, Jared R. Kelley Nguyen, Andrew Conde, Carola Pasotti, Loraa White + Jonas Rutström

PS. If we didn’t get to connect, let’s fix that. DM me.

If you had a standout moment at ADE, drop it in the comments or tag the person who made it. Would love to hear your highlight👇

Netflix set the stage. 50 Cent brought the smoke. And Diddy’s entire empire went up because he forgot the first rule of power:

Take care of your people.

The Reckoning is not a recap of the 90's.
It's an autopsy.

Diddy stiffed his videographer.
That footage is now the backbone of the documentary that’s cooking him alive.

He betrayed his lawyer.
The only person whose job was to save him.
Burn your lifeline, drown alone. 

Mistreated the women closest to him.
Girlfriends. Wives. Staff. 
Different faces. 
Same outcome.

And the artists didn’t fare any better.  
Bad splits. Broken promises. Too many careers held back to keep his brand moving forward.

One part of this series that hits different is how this affected hip hop as a whole.
 
Biggie.
Tupac.

Two artists who should’ve carried the genre into a new era but instead died in beefs that made everyone rich except them.

You can’t watch this doc without thinking..

What would Pac and Biggie have gone on to achieve if they hadn’t been victims of power games run by men who couldn’t match their creativity?

Diddy didn’t get exposed.

He documented everything, ignored the invoice, and the filmmaker let 50 Cent write the final chapter.

 If you watched it, what scene stopped you in your tracks?
 
 Follow Pete Madigan and vers1ons for more posts at the intersection of music, tech and culture

Your song pops on TikTok. Streams on Spotify. Gets played on radio. So why does your balance feel wrong?
 
Because none of those platforms pay the same way.  

Most artists only check what’s visible. 

Not what’s payable.

Spotify and Apple Music pay the master side through your distributor.  But streaming mechanicals go through your publishing admin or The MLC, not your PRO.

TikTok and YouTube trigger two paths. Recording money via your label or distributor. Song money flows through your publishing admin, PRO or The MLC, depending on the territory and deal.

Terrestrial radio pays PROs for the song. Satellite and web radio pay SoundExchange for the recording

Publishing never touches your distributor. It runs through ASCAP, Broadcast Music, Inc. (BMI) PRS for Music and others.

Different uses.  
Different payers.  
Different timelines.
 
But artists are taught to watch one dashboard.
 
So when the distributor statement looks light, 
they assume the song didn’t work.
 
It did. 

The money just went somewhere else.
 
Sideways.  
Upstream.  
Or nowhere at all because the system couldn’t match it.

Missing splits.   
Bad metadata.  
Unclaimed rights.  
Wrong registrations.  
International royalties stuck in limbo.
 
The money works. 
It just doesn’t land in one place.
 
Usage scales instantly on TikTok and Spotify.  
Settlement crawls through labels, PROs, and societies.
 
That gap is where money quietly disappears.
 
Two artists can have the same TikTok reach.  
The same Spotify numbers.  
The same radio plays.
 
One collects broadly across Spotify, TikTok, YouTube, radio, and sync.  

The other only sees their distributor statement.
 
Both songs work. 
Only one gets fully collected.

And until you know who owes you,  
you won’t know what you’re missing.

The question isn’t why Spotify didn’t pay you.  
It’s who else should have.

♻️ Pass this to an artist who needs the full map.
Follow Pete Madigan and vers1ons for more breakdowns on how music really pays.

Your ideas are worth millions.
Your LinkedIn posts? 

Worth maybe a polite like.

You’ve built a company.
You’ve made real decisions.

But when it’s time to speak online, your posts don’t match your reputation.

Here's why most founder content fails:

What you’re saying isn’t wrong. 
It’s just not cutting through. 

You'll share the funding round, the new hire, the milestone..

But not the unpopular opinion guiding your roadmap. The industry myth you’ve already disproven. The move that made no sense, until it worked.

That's the difference between a post people scroll past and one they save.

I've written for companies like Beatport, Crossmint, MoonPay, Matchain, and PSG. These days I work with a handful of CEOs who refuse to sound like everyone else in their space

The pattern I've seen: 

The founders who get attention aren't chasing it. They're working out loud. People follow because the thinking is worth following.

When ghostwriting works, it doesn't sound like ghostwriting. It sounds like you, on your best day, when the idea finally clicks into words.

No business-speak nobody uses in real life. No ideas you saw in someone else's post yesterday. No acting thrilled about things that aren't thrilling.

Just the perspective that makes investors lean in, that makes A-players want to work with you, that shifts how seriously people take what you're building.

📩 If you want your content to carry as much weight as your product, send me a DM.

Yesterday's post about publishing hit 58k impressions, 730 likes and 108 reposts. 

Thanks to everyone who shared and reached out. Happy it was useful.
 
Funny thing is.. None of it was new.

I stripped it back, reframed it, 
and turned it into a visual.

Once you can see the flow of publishing, 
it becomes easier to process.
 
It's not that complicated.
But the way the industry talks about it is.

Turns out publishing lands differently
when you strip out the jargon.

Clear splits.
Clean metadata.
Registered works.
A map of where the money flows.

Simple.
Obvious.
But almost never explained well.

The reason the majors win?
Their business side runs like clockwork.

Every split agreed.
Every song registered.
Every royalty collected.

Independent artists can do the same,
if they’re given clear instructions.

That’s the gap.

Not opportunity.
Not talent.
Clarity.

And that’s why I’ll keep breaking down the unsexy parts of the business.

💰 Because understanding the backend is how artists stop leaving money on the table.

🤔 What should I map out next?

PS. If you’re interested in music, tech and culture you might like to follow Pete Madigan and vers1ons.

One SoundCloud upload changed the direction of Post Malone’s life. It later crossed 1B streams, 1B views, and lives in 23M playlists.
 
Easy to forget when you only see the charts.

But, in early 2015, he was just another artist in LA.

Recording and uploading songs. 
Hoping something would land.

“White Iverson” was finished quickly.
Posted without a label.
Without radio or a plan.

It wasn’t polished.
It sounded unfinished.
Like someone figuring it out in public.

People felt that.

They replayed it. Shared it.
Passed it through group chats.

Blogs picked it up.
Then artists did.

Wiz Khalifa noticed.
Mac Miller reached out.

Labels followed the signal.

By the time Republic Records signed him, there were multiple offers on the table and a breakout record already moving.

That flips the power dynamic.

You’re no longer asking for a chance.
You’re choosing who to trust with momentum.

Same song.
Different timing.
Different leverage.

SoundCloud was a pressure test.

If people cared, the song moved.
If they didn’t, it stopped.

That lesson never left.

SoundCloud taught us that public feedback beats private perfection. 

TikTok just made the feedback loop faster.

You don’t need an album. You need one moment that makes someone stop scrolling.

Post the idea.
Watch what people react to.
Build from proof, not guesses.

One honest song can reset a quiet year.
A career people stopped paying attention to.

Catch the right person's attention and momentum handles the rest.

Sometimes one song can really change everything.

♻️ Share this with someone who needs it.
Follow Pete Madigan and vers1ons for more breakdowns like this on how artists earn from music

Mystique made Daft Punk immortal. What happens when you trust the music instead of the metrics?

Before the myth.
Before the helmets.
Before the world decided they were untouchable.

Daft Punk made a rare move. 
They negotiated ownership of their music. 

And once they had control, they didn’t go chasing fame.
They let the music lead. 
 
5 Grammys.
Billions of streams.
Three decades of influence.
A number-one hit in 50+ countries.

All without an IG persona.
All without chasing the algorithm.

Because they understood the obvious truth the industry keeps missing:

Fame fades fast.
Good music doesn’t.

The helmets were a filter. 
A boundary protecting the art from the artist.
A way of saying: listen to this, not to us.

And culture listened.

Homework set the foundation.
Discovery shifted the landscape.
Random Access Memories reset the standard.

They weren’t everywhere. 
They were intentional where it counted.

Daft Punk’s career is the ultimate validation:
The volume of your work doesn't matter;
the value of your best work does.

And they built their entire path around that truth.

Craft became the marketing.
Silence became the strategy.
Mystique became the advantage.

That’s the quiet power of ownership.  

Own your work and you stop chasing validation.
The work becomes the proof.

How different would your work look if you didn’t create for the timeline?

♻️ Repost if you know an artist who needs to hear this.
➡️ Follow Pete Madigan and vers1ons for more insights on music, IP and culture.

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