LIVE with Wendy Day #013 | Answering Your Questions Live

Hey, I'm almost there. Bear with me, it's gonna get started in a minute. Hey, thanks for tuning in though to the livestream. I'm so happy that you're here. I've got some great information for you today. Hang in, I'm almost there. Thanks so much for tuning in. Make sure you share this with your friends, and you know what, hit that little subscribe button. I'd love to have you subscribe. Hey, this is Wendy Day. Thanks for coming to my livestream. We're gonna get started in a couple of minutes. So just chill out, kick back, and we're gonna be right with you with some great information. Pond 5. I know you're anxious to get started and you're saying, where is she? But I'm filling up the cup with Diet Coke. I'll be with you in a minute. You're gonna get some great information today. I'm really excited about this. Hi guys, how are you tonight? Wendy Day here. Hey, I'm going to, um, over here on the side, on the sly, I'm going to, um, bring in my followers on Facebook. Hey guys on Facebook, this is Wendy Day. I'm over here broadcasting live on YouTube. I thought I would let you, um, browse and, uh, stalk a little bit. So how are you guys? How was your holiday? Did you guys have a good rest? Did Any of you go away? Did you have fun? Um, Anthony, it was the 14th in Norfolk and they canceled it yesterday. Um, I guess whoever was promoting it, um, ended up not paying for the venue in time or something. I didn't really understand, so they're going to reschedule it. Um, at this point I don't exactly know when. It was supposed to be the 14th. It was supposed to be next Saturday, not this Saturday, but next Saturday. Um, Hi guys on Facebook Live. I'm over here doing, um, answering questions on YouTube Live. I thought maybe you would like to, um, stalk a little bit and see what's going on. So do you guys have any questions for me tonight? Don't be shy. Hey Sacred G, how are you? Anthony Scott, thank you. I love you too. Hope you're well. Good, I'm glad you guys got a little bit of rest over the holiday. That's awesome. Um, yes, Intuitionals Clear, yes. Um, in about an hour after we get off of the live here on, on YouTube, it will, um, automatically post so that you can go back and um, check everything out again. Hi everybody on Facebook Live! I'm over here on YouTube Live answering questions, so if any of you guys have questions that you want to ask me, don't be shy. Kulian Mountain's asking me, how do you win over a fan base? You know, that's probably the most important question anybody could ask me. Building a buzz in this industry is so incredibly important. You've got to market and promote, and the way that you win over your fan base is you deliver music that they want to hear. You deliver music that they like. That doesn't mean that you make music for them. It means that you make music that is within you, that you're passionate about, and and then you find the fan base that it fits. Okay, um, as you know, folks have been, um, those of you on Facebook don't know this, but folks email me questions, um, during the week, and then every Wednesday night at 7:00 I go live, 7:00 East Coast time, I go live on YouTube to answer their questions. This is week number 13, so I've been doing it for a minute. This question is from Franz Boo the Business. How does one go about saving and keeping contracts safe? What if someone, an old business partner or venturer, waited 20 years to file a claim? In an industry like the entertainment industry where everybody's susceptible to lawsuits, how does one safeguard documents and proof that could one day be handy in court? I think I've already answered this one before, so forgive me, but I got an email this week saying I hadn't answered this question, so I wanted to make sure this question got answered. Um, first of all, everybody who is a party to the contract is going to get a copy of the contract, as well as the attorney for each person that's part of the— this mentioned in the contract, that's part of the contract. So you will have a copy, your attorney will have a copy. Um, what I do with my contracts is I always scan them and save them. I save them on my laptop, I save them on my hard drive. Like, I have a separate I have a separate little hard drive that I use for like a backup just to make sure everything is doubly checked. I then save stuff in Dropbox so that I can just go into my Dropbox and pull it down. I also use an app called GoodReader on my phone and my iPad, and GoodReader I save. So I have like, I have like 10 backups of of everything. Um, in terms of you holding on to contracts, um, obviously you want to hold on to a contract as long as you're in it, and then for at least 3 years past the expiration date. Um, but 20 years later, somebody can't really come back and sue you. It's, it's stipulated in your contract the length of time that somebody has to, um, make a claim, and that's usually around 3 years. You usually get about 3 years to sue. So for example, if you're not paid properly in your record deal, your recording contract, you've only got 3 years to sue the label, um, to get those back royalties. And that's kind of sad because sometimes artists from the '90s call me up and say, hey, can you help me chase my royalties? I didn't get paid properly. And you can't chase royalties that are 10, 15, 20 years old. It's just, it's, it's really not possible. Unless you can prove fraud. If you can prove that they defrauded you purposely, um, then yes. But if you've been receiving regular royalty statements, it's going to be really hard to prove that somebody defrauded. It's hard to prove fraud anyway. It's always hard to prove somebody's intention. But, um, I suggest you get a filing cabinet. Um, most of the artists I deal with for some reason use a shoebox for their contracts, and then they move 50 times so they can't, um, they can't find their contracts when they need them. Um, I suggest you invest in a strongbox or a filing cabinet and treat those contracts the same way you would treat money. That doesn't mean throw it in the club. That means make sure those contracts are protected and safe because those contracts mean money for you, or they could mean loss of money for you. So absolutely treat them with respect. What's going over here on Facebook Live? Are you guys, um, asking any questions over here? Hey Stacy, shout out to Scotland! Wow, you're tuning in far. Vernon Siders is asking me— DJ, he's a DJ— um, any recommendations as to who do you start with whenever you're trying to create a street a street buzz, um, absolutely. Thank you, Ocean. Um, absolutely, whenever you're trying to start a street buzz, um, you want to start with your own team because your team are going to know more about you and they're going to go harder for you than strangers. Um, once you start building a little bit of a minimal buzz, um, then you can start hiring folks to like step in and give you a hand. In terms of, you know, passing out your music. Um, you want to hang posters when you're performing, you want to hang them at the club. Like, we still do it the old school way and it still works very, very well. I'm, I'm not saying that we bypass the internet because you absolutely have to market and promote on the internet. It's extremely important. Um, but you also have to do it in real life too. And I know a lot of you guys don't have budgets and that's why you're not out there on the streets promoting, but you have to. You've got to promote in real life too. Carl Fontaine is asking me, with South by Southwest coming up, what is important for an upcoming artist to do down there? Flyers, DJs, etc.? You know, that's a hard question to answer because South by Southwest has so many people that come there, and most of the people seem to be artists. And I don't want to tell you to market and promote to other artists because they're not really your market. I mean, certainly, certainly certain artists are going to naturally be fans of your music, but when you're trying to build a fan base, marketing and promoting to other artists or to the music industry is not in your best interest. You really want to market to your fan base. Um, South by is amazing for the panels and the networking opportunities. In fact, I'll make a video, um, probably like a month before Southwest about how to best plan your trip to South By. Um, I've been there 4 times. I'm not a fan of South By Southwest. I have to be really honest with you. I've spoken there, um, let's say I've been there 4 times, so I've spoken there 3 times. Um, my favorite part of South By is the, um the internet side of it, which is huge. They use like, like 3 different convention centers for the interactive part of South By. And I'm a, I'm a, I'm a geek, so I love the tech side of South By. The music side though has really been shrinking over the years, and it seems like it's been shrinking just as the rap community has jumped on, um, South By's dick. And I see a lot of people going there to perform. But understand that you're not really reaching fans there, you're really reaching the industry and other artists and wannabe artists. So, um, I, I still stick by my marketing, my whole marketing plan. And on YouTube I've posted videos about how to do this. There's a couple of them. I posted one, um, just last week about, about, um, about marketing and promotion. Um, but you should start in wherever your area is. You should start working your music in your own home area and then draw a circle, like a 3-hour radius around where you live, or if your budget's bigger, a 5-hour radius, or if your budget's even bigger, a 7-hour radius, and make that your target market and really, really blitz that area, you know, and online. Because you want to make sure that you're reaching as many potential fans as possible. So let's just say, for instance, that for every 50 people— and I'm just pulling numbers kind of out of my ass here— but let's say for every 50 people that, um, that hear your music, maybe 1 person likes it. So then if you reach 500, you get 10. If you reach 5,000, you get 100. So you, you're gonna have to reach as many people as possible. And there's only but so many potential rap fans where you live, even if you live in a big city like New York, right? The bigger the city, the more competition there is and the more artists there are for people to notice. So you're going to need to reach people outside of just— like, I live in Atlanta, so I'm going to use Atlanta as an example, right? I need to make sure that my clients reach potential fans outside of Atlanta outside of Macon, outside of Birmingham, Alabama. So I'm going bigger and bigger and bigger, right? I'm gonna go all the way over to the ocean, and then I'm gonna go all the way over to like where Alabama meets Mississippi, right? That's how far from— if I have a bigger budget, I'm gonna go all the way to the Mississippi River. So it just really depends on the artist. And I usually work from, um, the middle of Florida, like Central Florida, like the Tampa area. Up to about Virginia, and that becomes the target market. Like in Working Trouble, that's our market. We're focused on the Southeast. If he spreads via internet further, that's wonderful. You know, he's been doing shows in St. Louis and Dallas and Houston, and that's great, but we're spending our money in the Southeast because that's where we're getting the biggest bang for the buck. And that's how we were able to get his price up to $10,000 a show as quickly as possible. He's a little over $10,000 now. I think he's at $12 5, but our goal was to get him to that 10,000 point as quickly as possible so that he could make enough money to be happy enough to do all the work that it takes to do this. Um, Facebook Live people, I'm over here on YouTube reading questions, um, that folks are asking me. Happy New Year! Thank you, S. Lewis. Why aren't new songwriters being signed unless they already have placed records? Um, because the thing about songwriting is that making a hot record is very difficult. Once you've made one, you sort of learn what it takes to succeed, and it becomes a little easier to make a second one and a third one and a fourth one, etc. Um, So usually, and it's the same, producers have the exact same problem. Like, once somebody writes one hot record, everybody wants to be down with that person, everybody wants to be involved with that producer, right? So, um, that's why it— when you have a brand new songwriter or a brand new producer, they might luck up and make a hit record, but it's rare. Most of the hit records come from people that have been making songs over and over and over and testing and developing and testing and developing. Ditto with producers. And that's why it's easier to deal with somebody that has a track record of success as opposed to somebody that's brand new. Also, with somebody that's brand new, they usually don't have a team in place, so dealing with them on the business side is a little bit harder. They may not have a lawyer yet. They may have a lawyer, but their lawyers kind of like on the janky side because they didn't have the money or the relationships to hire like a top-notch guy. Um, thanks for all the hearts, those of you on Facebook Live. I really appreciate y'all. That's awesome. Um, but that's why it's, it's always easier to deal with somebody that has, has had a little bit of success and some experience because then it's not brand new and you don't have to hold their hand and you don't have to explain explain everything to them, and you don't have to worry about them being afraid that you're jerking them, whether you are or not. Um, they usually have a manager in place, and it's a little bit easier to deal with a manager instead of dealing with an artist directly. Sometimes artists get a little upset, um, with feedback on music. So that's why. Um, yes, Knight Rider, I am answering questions tonight. Um, I don't think I printed yours out. I'm gonna have to go in and look. Virginia Rodriguez is asking me what's a good way to shop beats. I'm not sure there is a good way to shop beats, quite honestly. Um, I guess the best answer I can give you to that— it's so oversaturated with producers right now. Um, you're going to need to build relationships with the artists directly, and you're going to need to, um You're going to need to build relationships with the A&R guys at labels, the folks who actually buy beats. Julian, I don't know the answer to that. Um, you're asking what is the hottest style of rap out? Um, whatever's selling is the hottest, and, and every industry is different. Um, every region is different. Hey Denise! Um, I can't answer that. It's too— it's too general of a question. That's like asking me, you know, it's just too general. I'm sorry. JR Ewing, how are you? Is it cool to work with producers that mix and master separately from the producer that mixes the beat? Um, for me, I always have different ears mix the songs down. Like, whoever produces it does a tight mix, and then I always have a, um, I always have a producer— I always have an, excuse me, a mix engineer mix it down because I want a different set of ears on the record, and then I always have a different mastering person master it because I want that third set of ears on the song, um, and I use, uh, Big Bass Brian for most of my clients to master. Um, he's at Bernie Grundman in LA. I just like I like his sound. I like the quality. Um, he is who Eminem and Dre use. I got him from Dr. Dre in the '90s, and he's never let me down. Um, he's, he's mastered pretty much all of the projects that I've worked my entire career, including the ones that I'm working now. Dante Jones, I can't answer that because I have never utilize them. Um, Dante's asking me if Coast to Coast is a good way to promote music. Um, and I don't know because I've never, I've never, um, I, I've never marketed through Coast to Coast. They're friends of mine. I mean, I like them a lot, but I've never, I've never tried. I've never utilized them for an artist. You have to understand, the artists that I work with are not new artists. Um, they're people that already have a little bit of a buzz and a little bit of experience in what they do. So we don't start at the showcase level, and showcases are really great. Like, the local showcases are really wonderful in order to have you hone your skills, because by the time you start getting paid for shows, you need to have like hundreds of shows under your belt so that you know how to hold the crowd's attention and you know what they're going to like and what they're not going to like. You have to know what to do. You've already had to have some experience of, you know, the sound system being shitty, or somebody trying to boo you off the stage, or somebody really rowdy in the crowd. Or, you know, what do you do when there's only 3 people in the audience as opposed to, you know, 1,000? So you want to cut your teeth on the showcases as you're coming up instead of like, you know, you're on tour and you're opening for Young Thug and you've never fucking performed on stage before. That's a problem. So I love showcases for that. Um, remember, showcases, you're kind of performing in front of other artists and their, um, and their crowd, right? So you're not really building fans by performing in front of an artist showcase, but what you are doing is you're honing your skills and you're getting better at what you do, and you're building relationships because a lot of DJs go there. A lot of A&R people go there to see like what's bubbling on the underground. So you can meet people there. It's also a great place to meet other artists. And as you guys know, I'm really big on unity. So you can go to a showcase and meet producers, you can meet other artists, you can learn from each other, you know, you can, you can share information with each other and be a little bit more open than most of you are with other artists so that you can you know, you can bypass that glass ceiling that you're gonna hit. The Real See-Through TV is asking me, how do you find a great PR firm? Um, what I do— and, and the great, um, PR firms, um, change a lot. Cool Kim, I love you! Cool Kim, um, the, the top publicists change pretty quickly. It depends on how busy they are. But what I do is when I'm getting ready to work a project, I reach out to the bloggers and the editors at the different sites where I know I want to get placed, and I ask them to recommend, um, some publicists. And then I reach out to those publicists directly. I usually call about 10 different bloggers and editors. I don't just ask 1 or 2 people. And out of the 3 people they recommend, usually 2 of them are like their boy or their friend or their girl. Um, so when you ask 10 people, you get 30 answers, and in those 30 names, there's going to be 3 or 4 that are repetitive, that keep coming up, and they're the people that you want to reach out to. Just make sure when you, when you hire a publicist that you're ready for a publicist, right? A publicist is like a, um, a publicist is like a megaphone. You've got to have something happening already in your market for publicist to be of help to you. Like, you can't just start making videos today and then tomorrow go hire a publicist and say, hey, get my shit on the blogs. It doesn't work that way, right? You want to have something going on and a little bit of a foundation before you start spending money. Okay, I'm going to really butcher your name and I apologize in advance, but, um, Genre Chocolate— am I close? Um, you're asking, you just watched the video I posted today on mixtapes. In my opinion, is it more effective to promote a single to build a following? Um, you always promote a single, but you always put more music in the marketplace so that when somebody is trying to discover who you are, if they like one of your songs, they can go and see what else you're working on and see if they like you as an artist. Um, you always want to have a body of work that they can discover. So I always put out, um, I call them street albums as opposed to mixtapes. I know in my video I called them mixtapes. That's because you guys call them mixtapes. I always put out a whole album. And by the way, not only do I put out free music, but I put those— that same music on Spotify, on Apple Music, on Google Play, on Tidal. I always put it through the distributor so that it is available for stream, and then it's also available for sale for the folks that still download music, that download MP3s or albums. Um, I just make sure it's available in every possible way that someone can hear the music. Grand Prix! Oh my gosh, all my friends are here tonight! This is so cool! Hey, Grand Prix! Okay, Yo123789 is asking me, is radio fake, as to say that a song is not really a hit until it gets repeated non-stop until people believe that they like it? Um, I understand what you're asking. Um, so let me try to explain it this way, okay? Um, you pay to get on the radio, right? It's, it's not free to get on the radio. It's a business. Radio exists to make money in advertising sales, and the goal of any radio station is to increase their ad revenue, right? So they want to play whatever music is going to attract the most people, because the more people that are listening to the radio station at any given time, the more they can charge for ads, right? It's kind of a just a basic business principle. Human nature is the more you hear something, the more something is repeated, the more comfortable you're gonna be with it. So even if you just kinda like a song, if you hear it enough, you're gonna find that you're gonna start to sing along to it, and then you're gonna hear it in your head while you're driving, you're gonna hear it in the morning when you're in the shower. It's just gonna sort of creep into your consciousness from your subconsciousness. So radio isn't necessarily fake for the reason that you're asking me, but the answer is kind of yeah, because they don't exist to break new music. They don't exist to be a beacon in the community and share information with the people that are within their, you know, within their radius. They exist to make money through ad revenue. And the music is there to attract the people. So if they're playing this one song by, let's say, Beyoncé, right, and that attracts a lot of people, and then they try playing a new song by Kendrick Lamar— and I'm just kind of picking, I'm picking examples like just out of the air, okay, this isn't a real example— they start playing Kendrick Lamar and people start changing the dial and going to another radio station because they don't like that song. They don't like that. They want to keep people there. So when they see that happening, what's going to happen is they're going to tell Interscope that Kendrick is not researching well, and they're going to play more music that does research well. And the way that you get your music onto the radio station is you hire an independent radio promoter, and they take your music for a fee. They take your music to the radio station and pitch them on why they should try adding your record. But understand that when you're unknown, it's really hard to get on radio. You want to build a buzz on the streets and in the clubs first. And then not only is it hard to get on radio, but it's hard to stay on radio once you get there, because if they start playing your record and people are changing the station because they don't recognize your music— you're not Beyoncé, you're not Drake, you're not Rihanna— You're not J. Cole, you're not whatever's popping right now. They're not going to take that risk. They're not gonna— they're not gonna mess up their money to break a new artist. They're not there to break new artists. That's not their job. Their job is to collect ad revenue and keep their investors happy, or their stockholders happy in the case of most labels. So, um, that was a very long-winded answer. Um, I've got a video on my YouTube channel about radio. About how to get radio play. Just make sure that you're ready for it when you go for it. It's an area in which you can lose a shit ton of money really fast. S. Lewis is asking me why haven't I started a label. Um, you know, I don't want to start a label. Like, my goal in the music industry has always been to like set up a label over here and help them and then when it's not fun anymore, I can move over here and set up a new label here. Like, I really like working with artists when they're unknown. I really like getting them to that next level. And then there's other people that enjoy stars and dealing with that level of artist. I am not the one. That's not my enjoyment. Um, I also don't like the idea of running a label day to day um, that's not fun for me either. I really like breaking new artists and building stars, like, and, and taking people from nothing to something. That's, that's where my passion is. And if I started my own label, first of all, I wouldn't be completing my mission, which is to build a lot of companies in Black music. Um, I would be kind of doing it for myself instead of doing it for other people, and my enjoyment is in helping other people. Um, but even if I were to do it for myself, like that day-to-day of running a label and the bullshit that comes with that, I— that would be a 9-to-5 job. Actually, it's more than a 9-to-5 job. That's like an 8 in the morning until 2 in the morning job. And I just— I wouldn't— I wouldn't enjoy that. I really love what I do. I really love being a consultant, and I really love having the time to be able to like help you guys and share my knowledge in the music industry with you so that you guys can go and build your own careers and, you know, have fun with it. Grand Prix is asking me, where am I currently seeing tipping points as far as breaking artists? Is it the DJ level, SoundCloud, blogs, or curators? Who's getting the bulk of my attention currently? Um, Uh, Spotify is getting the bulk of my attention. Playlists right now are where I see Trouble making the most, um, money. His streaming income right now is popping. He's getting about 5 million streams a week, and, um, I'm real happy with that. Real happy with that. Um, it hasn't been DJs for a while, Grand Prix. Like, I love DJs, and you, you know, you know me, so you've seen me on the road, you've seen me fight for DJs. You know, the DJs are the backbone of this, but the very few DJs break records anymore. They, they basically want to get paid to play records, and you can't play it. You can't— nobody has the budget to pay every DJ to play a record. It's just, it's not, it's not realistic. And the blogs, you know, it's the same thing. The blogs kind of, um, the blogs kind of have their hand out, and you can get— you can pay somebody to, you know, to place your music. Um, we did that with Trouble when he first— when we first started working with him. It was cheaper to play— to pay for placements on the blogs than it was to hire a publicist. And we did that for a while, and then we got tired of doing that, so we ignored the blogs completely. And then once he got hot and the fans started talking about him, they started picking up music off of his SoundCloud account and posting on the blogs. And now we send it to the blogs— like, he's got relationships with all the bloggers, so he sends his music directly to the blogs whenever he drops a video or a new song. Hector is asking me, any tips on performing on stage at a show and how to stand out? The first thing I'm going to say is have great music. You know, if you really want to stand out at a performance, you've got to have music that the audience wants to see. My second piece of advice would be to only perform 2 to 3 songs if you're a new artist. You do not have to do your whole album when nobody knows it. With the artists that I work with, with my clients, we do one song and then we get the fuck off the stage. Unless the artist has like more songs that the fans know, then they'll perform like a couple of songs. But, um, unless they're getting paid for a full-out show where they're brought in by a promoter to do an actual show where they'll perform for like 45 minutes to an hour, um, for the most part, for a new artist, like 1 to 2 songs. Always leave— want— always leave them wanting more. Denise is telling me start a label, man. I'd be so miserable. Um, Killer Fuse is asking me, was it better for up-and-coming artists back in the No Limit Cash Money days, um, in the '80s or the '90s than now? No, because because of the internet and because we can go right to the consumer. Um, I wouldn't go back if you put a gun to my head. It's much easier right now. And I, I know that, I know that because you're living now and it's hard, you're thinking that no, that's not possible. But I come from an era where we couldn't get radio play, you know, we had to move music and music wasn't free. So we had to convince somebody that never heard of the artist to spend, you know, anywhere from $9.99 to $17.99 on a CD, and it was hard. Holly Richardson says repetition is the father of learning. It absolutely is. Genre saying, I've heard several program directors complain they'll put something— complain, that's Excuse me, claim, not complain. I said complain, you said claim. Um, claim that they'll put something on the radio if it's hot and has the streets buzzing without people having to pay for spins. It's relatively true, yes. Um, you're still going to have to put up a budget at some point, but it's much easier if you can get the record popping on the streets. It's much easier to go to radio because they're gonna know when they put it into rotation, they're gonna know that the fans are going to respond to it because they're already responding to it on the streets and in the clubs. It's never free to work a record, ever, ever, ever, ever, ever. It's never free. Okay, I shouldn't say never because there'll be the one time, one time where a record will be played because somebody loves it and you will Call me a liar, but you can't have a record get into the top 10 or the top 20 or the top 30 or the top 40, maybe not even the top 50, definitely not the top 50, maybe not even the top 60 unless you have a budget for radio promotion. Maybe even the top 70. I'd have to look at it. I'd have to look at Media Base. Okay, yo123789 is asking me, back in the day, were most fans 11 to 21 years old? Because I realized that the internet artists, um, Lil Yachty have— are you saying Lil Yachty? Yeah, Lil Yachty have a majority of very young fans. It's always been young, granted The music sounds like cartoon theme songs. Um, it's always been young. I have always marketed from 13-year-olds to 26-year-olds. That's always been the market that I've gone after with Cash Money, with Eminem, with Master P, with everybody. With Trouble today, I mean, that's our market. Um, Trouble does not perform, um, in front of a younger crowd because he doesn't feel that his message is suitable for a younger crowd. So he will not do high school shows, he will not do sweet 16s, um, he, he does— he doesn't do teen clubs, he only does like 21 and over, um, but his market loves him. Like, if you go through his feed, you can see that, you know, they're young. Depending on the type of music, like street music skews a little bit older um, it's the more danceable, like, poppy type music that actually, um, skews younger. Like, the Justin Bieber crowd is like, you know, 8, 9, 10, 11, 12, 13, 14, 15. But think back to when you were— think back to when you were young. Like, music, music got me through my teenage years. Music got me through my high school and college days. Like, even the music that, that I'm most attracted to is the stuff that was around when I was young, because that's when I had money to buy a lot of music. I didn't have car payments, I didn't have a mortgage, I didn't have, you know, um, um, life issues, you know. I, I could go out and I could buy 30 CDs if I wanted to. You know, and I listen to music all the time, whereas now I'm on the phone. I've got, you know, I've got a job, I've got life, I've got family, you know, I've got my dog to play with. I don't always have music in the background the way I did when I was younger. And kids have disposable income. Thank you, Desario. Thank you, S. Lewis. Killer Fuse is talking about how the game has changed. Um, yes, it's a very— it's a, it's a completely different music business. That's what I love about it though, you know. I, I— if it had stayed the same, I genuinely probably would have gone and gotten a job in tech because it's just, you know, to do the same thing all the time is really boring. I love that it changes like that, that, that, um that challenge every time I have a new artist is— I love it. Like, when I have to sit down and, and put together the initial marketing plan for an artist, I love that shit, you know, because everybody's different. And the way— like, just 2 years ago when I started working with Trouble, the stuff that I did with him then and the stuff that I'm gonna do with my next client is completely different. Like, it's constantly evolving and constantly changing. And a lot of that is also that, you know, this industry, we're a bunch of bandwagon jumpers. Like, if, if one person goes and gets on Spotify playlist, everybody runs and gets on Spotify playlist. If another person goes on a promo tour, everybody runs and goes on promo tours. One person wraps a vehicle, everybody runs and wraps a vehicle. Um, we just— we're such followers in this industry that we have to constantly be evolving because If we do something now in January, by the time we go to do it again in May or June, everybody else has kind of caught on to that idea and jumped on the bandwagon. So we've got to keep innovating and keep using different ways to reach people. DJ Infamous, Ronnie Lee is asking me about, um, Billboard charts. Hey, Ronnie is asking me about Billboard charts. Um, I gotta tell you, I don't even— even back when they mattered, I didn't check the Billboard charts. Like, I don't give a fuck about what position my song is in unless I'm like number 3, number 2, number 1, because I want to get to number 1, right? That then it matters to me. But I don't really care if an artist is at number 30 or number 90 or number 200. I care about the audience, like who are they reaching, how many people are they reaching, how many times are they reaching, like is that song catching on. I'll check BDS and Mediabase to see how the spins are doing because I want to know that I'm getting what I'm paying for. Like if I paid somebody to bring in 10 stations, I want to know that I'm getting spun on 10 stations. I want to see what times of day I'm getting spun. I don't want them to all be overnight. I want them to be during the day parts. When the bulk of consumers are listening. I look more at the buzz of my artist than at positioning or numbering. Like, I don't care how many times my artist is streamed. I don't care how many downloads are sold or CDs, if we're still selling CDs, and we don't, we don't sell CDs. Right now, at least none of my clients do. And by the way, um, I just read a study that came out for 2016, and CDs are still 49% of sales, just so you guys know. So if you're not pressing up your music, um, you might be missing some money. You might be leaving some money on the table. Um, Facebook Live people, I'm over here on my YouTube. I do this every Wednesday night at 7 o'clock Eastern time. Um, people have emailed me questions, and I'm also answering questions off of the chat room here on YouTube. And again, I do it, I do it every Wednesday night. I just thought I would bring my Facebook friends in, um, to check it out, um, so that you could be nosy and stalk a little bit and see what's going on over here. Ronnie Lee's asking, what is the process of Getting an artist who wants a feature from another artist and the featured artist would like to revise the beat. Oh, that's a good question. Um, so let me make sure I understand. You're saying you've got a song, you want to feature an artist on that song, but that artist doesn't want to be on the song unless you change the beat. I guess the answer is how badly do you want that artist on your song. I'm also a little biased, Ronnie. I don't use features on my artists until they start popping. I just don't. It's too much effort to clear them with their label, and I just would rather spend that money on blowing up my, my artist, my client, rather than spending it on helping somebody who's already famous get more famous. Additionally, it makes it a little hard when the artist is performing. Like, what do you do during— like, if you do a song and you've got Rick Ross doing a verse, like, what do you do on stage while, while Rick Ross's verse is playing? Do you just rap along with it, or do you put them on a screen behind you? Like, what do you do? And then the last reason I don't, I don't, um, use features is because If you're unknown, it doesn't really work. Once you get a little bit of a buzz, like once we had a buzz for Trouble, it made great sense to have him feature on a Young Thug song. He was on Thief in the Night with Young Thug, and that really kind of took him to another level. But he already had a buzz before we did that. Then he went right from that to the YFN Lucci song Take It to the Streets, which went to number 1, and Urban Radio. He was featured on that with the Migos. So it's not, it's not them being featured on Trouble songs and us trying to use somebody who's famous to get on. It's him getting to that next level and proving his value on the streets in terms of his buzz so that somebody recognizes that and wants to do a song with him. Yes, we have a song with Drake coming. Wasn't my choice. Ronnie saying, um, you're the featured artist and those fools have trash-ass beats. Okay, this is a teaching moment for you, Ronnie. This is a teaching moment. You're gonna, you're gonna have the opportunity to help them develop a better song. You're going to be able to, to do the feature. And, and if you're the artist that's known and they're not, then you kind of get to call the shots, right? Because you can just tell them, no, I don't want to be on your trifling song because the beat is whack. But this gives you the opportunity to educate them on what a great beat is, right? Julian is asking me how many songs should go on a mixtape. Um, more than 10, um, less than 17. I would rather you put 10 amazing songs than 17 or 20 mediocre ones. How's that for an answer? Thank you, Frank. I am doing a lot better. Look, I can smile. Yay, my face is coming back! And everybody else just completely missed that. Um, you're gonna have to go back and watch the, the archive of last week's live so that you understand that. But yes, I've always felt great. Like, it's not a matter of me feeling better, but I am better, right? Like, I felt great throughout this whole thing. It wasn't really an illness, it was just really annoying more than anything. Um, yes, Tony, I would. I don't know if you're watching. Tony just asked me if I want a steak. Yes, I do. Yes, I want a steak! Excuse me, guys, did everybody just have to do this because I blew out your eardrums? Okay, um, yes please! He doesn't realize that I'm live doing this right now. That's really funny. He just asked me if I wanted a steak and I do, I'm hungry. Okay, Sacred G, you've had lots of CDs sent out globally to different broadcasting outlets. Will BDS and Media Base pick up the possible information only in the US? Um, to— you want to know if it's playing in Japan? Um, I don't know who tracks music in Japan. Um, but you know, I just, I, I just wrote this article about Digital Radio Tracker, and they track mostly internet radio but some terrestrial radio worldwide. So, um, I was really surprised because I, I pulled a report, um, on Trouble, and I think the reports are like $39, $29, $39, something like that. I pulled one of his songs just to see like where where he was getting the bulk of his internet radio play, and I was surprised at the number of terrestrial radio stations that were on that report, and international. Like, like, he's popping in South Africa. Like, who knew that? He's popping in Italy, South Africa, um, and New Zealand. I have not marketed him in, um, any of those places. Do I have my shirt on inside out? No, I don't. I just saw, um, my little horsey. And it looked like it was inside out. I have been known to wear a shirt inside out. DJ Infamous, um, thank you for asking that. DJ Infamous is, um, one of my favorite DJs. Aside from being a great DJ, he's a really hard worker, and he's one of the DJs that I send music to for feedback. He has played an amazingly wonderful role in Trouble's career. Like, back when no one was playing Trouble at all, um, he was spinning Trouble on the radio in Charlotte. And we didn't ask him to, we didn't pay him to, um, he's just a really great human being, and I'm really thankful you're in my life. Capella is asking me, um, I'm sorry if I just butchered your name, um, what's my opinion about artists paying for major label meetings. I think it's a scam. It's always been a scam. Um, I don't know of anyone who has gotten a deal from meeting with a label. Um, I did a video about that exact topic, um, and it was probably back in October, November. It's in the archive, the YouTube archive. Um, also guys, I, I archive all of these videos in order, um rapjewels.com. So you can go to rapjewels.com and you can just go through them like backwards in order, because I noticed that YouTube, it gets a little, it gets a little, you know, it gets a little hairy there. So I've got them archived to make it easy for you. Hector Romero asked me, um, he was doing some research about getting paid royalties and He came across the Harry Fox Agency, who are hired by companies like Spotify, and they collect and pay mechanical royalties to publishers. Um, yes, Harry Fox Agency collects the royalties for songs that were written by other songwriters. So if you cover a Bob Marley song, Harry Fox is going to collect the royalties. If you cover Dolly Parton, like the way Whitney Houston did with I Will Always Love You, Dolly Parton wrote it. Um, Harry Fox Agency collected the royalties and, and paid them out. The issue is you can't sign with Harry Fox Agency, right, unless you're a publisher and have songs released commercially, right? Um, it can't be a self-released song. In my case, I'm not signed by a label and this is my first song you ever really— that was ever released. You only have to worry about Harry Fox's if somebody covers this song that you've already released. So if you release this song into the marketplace and then a year later I come along and I remake your song, then Harry Fox is applicable. Yes, you still have to sign up with a PRO to collect the remainder of the royalties. PROs are, um, performance rights organizations. That's ASCAP, BMI, and SESAC. And they are the ones who collect the money when your song is played on the radio or it's played like live in a club or on a jukebox, if they even exist anymore. Your PRO will collect that money and divide it up between the owners of the song, the publishers and the writers, and send everybody a check. And they do that twice a year. They do that, you get checks March and September. You also want to sign up for, um, SoundExchange. SoundExchange collects the money for music that's played on internet radio, for example, and some streaming services like Pandora. soundexchange.com. And then your last question is, are the admin publishing companies by TuneCore and CD Baby legit? Um, yeah, they're absolutely legit. Um, the, the thing, the thing that I like about admin deals is that, um, you're not giving up half of the ownership the way you are in a co-publishing deal. A co-pub deal is when a publisher offers to buy a percentage of your ownership, like 25% or 50%. It's usually 50%, and they do a co-pub deal Um, the great thing about admin deals are instead of giving up any ownership, you pay them like 10% of the income to go and collect your money. I don't like publishing deals. I've never done one. I really don't like them. Denise is asking if radio is still the number one listening platform for Urban music, um, it absolutely is. Oh, you're telling me? I'm sorry, I thought you were asking. It ends with a period, not a question mark. Yes, um, yes, radio still is. It is, it is a declining, um, platform, but it's declining really slowly. Um, yes, you can get a song on the radio and reach millions of people, which is why, which is why we do that, why we even go through all the political bullshit with radio is because you can reach millions and millions of people very quickly in a repetitive fashion. Ralph on the Track is asking me, as a beatmaker, how should major artists be compensating you for beats that you do on their mixtapes? Um, here's the problem with free music. The problem with free music is your percentage of free is nothing because 50% of free is zero, 100% of free is zero, 3% of free is zero. That's the problem with free music, um, and that's what I don't like for producers because the artist is going to be able to go out and do shows and make money and sell merchandise, but the producer is not. So if you give your beat away for free, which is what most producers do, it's going to be very hard for you to make a living as a producer. Hi Joshua, I've been good, thank you. That's good that you're busy. Busy's good. You're getting your GED too, aren't you, Joshua? Huh? Huh? You should be, right? You are, right? Come on, you can do it. That was cool of Infamous on his part. Infamous is awesome. Mr. Red 513 is saying if you hit the hit the streets hard and sold very well for years, and then a DJ tells you fuck the club and fuck the DJs, go mainstream, what do you think? If I hit the streets hard and sold very well for years, um, if I sold very well for years, I wouldn't care what a DJ told me. Um, if I'm selling well, I probably already am somewhat mainstream, right? Um, I'm probably not a great person to ask that because I don't really listen to other people unless they've had a great amount of success and they're in a position that I would like very much to be in. Um, I don't really, uh, I don't really listen to people. Um, New Money Management is asking me thoughts on ad ventures, but I'm not sure what ad ventures are. I saw you had asked me that, um, a little earlier too, and I'm sorry, I should have— I should have not made you type that in twice. Um, you're putting AdVenture in quotes, so I'm assuming that it's a company. I've never heard of them. I love that you guys are, um, like all helping each other out. That's so awesome. Okay, Always Zoning is asking, if you pay for a beat and have exclusive rights, do you still have to pay the artist royalties via ASCAP? Okay, um, if you pay for a beat, that money that you pay to the producers is actually an advance against their royalties. There's going to be an agreement that you write with that producer they're going to give you the licensing right to use that song exclusively, and in exchange you're going to agree to pay them a certain percentage of sales, right? And to the person that asked me about mixtapes, percentage of sales, not percentage of free, right? Percentage of sales. So once— and then the advance that you gave them, the money that you paid them, is an advance against that. So Once they recoup whatever they paid you, let's say they paid you $1,000 or $1,500 for the track. Once that, that the royalties have equaled more than $1,000 or $1,500, you're going to start getting payments from them for the song. It's not by ASCAP. That's from the actual artist or the label. Whoever is making the money is the person that's going to pay you. ASCAP is a performance rights organization. You don't get paid by ASCAP until your song starts really buzzing, like it's played at radio and it's popping in the clubs. The clubs and the radio stations pay a licensing fee to ASCAP, BMI, and SESAC for the right to use music publicly, and then that money goes into a big pot at ASCAP, or at BMI, separate pot, or SESAC, separate pot. And did you guys hear that Blackstone bought CSAC today? Like, what the fuck is that? I thought they were like a real estate company. Anyway, um, so the money that's in the pot at ASCAP is then divided up between all of the members of ASCAP based on how many times their songs were played at radio and in the clubs. I hope I explained that well. It's a really hard thing to explain. Ronnie Lee is asking about rappers performing for executives in boardroom offices. Um, you know, here's the funny thing. In every deal that I've ever shopped except Bootsy and Webbie, I've never had an executive ask the artist to perform. L.A. Reid asked Webbie to perform, um, Girl Gimme That and Bad Bitch when I was shopping. He was at Def Jam at the time when I was shopping his deal, and I had never seen that before, and it floored me. This was in 2005, and I still am kind of shocked when I hear artists say that they had a meeting at the label and the label asked them to perform right there in the office of the A&R guy, the office of the president, or whatever, because your show is going to be so much better when it's in the right setting, right? Like when you've got a crowd and you're getting the energy back from the crowd, that's when as an artist you excel. So performing in a boardroom or performing in an office doesn't really show the capability of the artist show. Um, I guess they're doing that because they want to see if you can do something on the spur of the moment, and if they ask you to do it, you'll do it. Um, the, the only— I don't quite know why L.A. Reid asked Webbie to perform. The only thing I can figure, and at that point in time Webbie was doing shows like 5 nights a week, right? Bootsy was doing shows like 7 nights a week. Um, the only reason I can figure for him doing that was he wanted to see if Webbie's charisma came out. Um, but also understand that the deals that I've done have always been for artists that had a lot of leverage, like they've sold a lot of music or they've made a lot of money touring and streaming. I, I haven't had to do a deal for an artist who was brand new. I wouldn't do a deal for an artist who was brand new. It just wouldn't— it just doesn't make sense. It doesn't make financial sense. Um, I also don't take meetings until my artist is making like $100,000 a month in income, and that's not an exaggeration. And the reason I do that is because if you're making a million dollars a year on your own, when they have to invest in you, they're going to have to invest at least $2 million. They're going to have to at least double what you're making, or why else would you give up a percentage of what you're doing to them, right? So the deal is just naturally going to be a better deal. And if a deal is a more financially pressing deal, they're going to work harder to get their money back. Um, if they sign you to a deal for $50 grand and they don't make that money back, they're not going to sweat it. It's not that much money to them. If they sign you to a $2 million deal you're going to be a fucking success, and they're going to make sure of it because they've got so much invested in you. So I do really highly leveraged deals where there's a lot of money on the table, not because I can just walk in and wave a magic wand and make it happen, but because I've got the ammunition that allows for that type of deal. And I just don't— I don't shop deals unless somebody's got a whole lot of ammunition, and I'm a great shot. If you've got good ammunition, I'm a great shot. Desario would like a steak too, Tony. I can't believe he's cooking steaks. I'm so happy. He's such a great cook. DJ Infamous is saying that DRT is real good. Used to deal with the owner a lot. Um, yes, I really like DRT too. I'm trying to become a little more involved with them. I'd like to actually invest in them. Um, Grand Prix is saying CDs still do well in non-metropolitan cities. Um, absolutely. Um, Grand Prix, we— every time we put out, um, a Trouble, um, album, we press up somewhere between 50,000 and 100,000 CDs. I could even say 60,000 and 100,000 CDs. Um, in the South, we give out a shit ton of CDs. I never thought about it being a non-metropolitan thing. I thought it was a— I actually thought it was a Southern thing. Um, there's an artist that I was working with in Rhode Island, and nowhere in the Northeast did we give out CDs. At all, at all. When I was working with Joyner Lucas in Boston, we didn't really— I mean, we gave out CDs because we needed to spread the music, but, um, I, I wouldn't today. That was 3 years ago. I wouldn't today. I would give out download cards, and download cards are like little business cards that have all of your links on there. Okay, let me, let me come to this, um Tiffany Clements is asking me, um, the question was about a tour. Oh, okay. Um, we're wondering if we should do more of a SoundCloud push because we feel that some people have been discovered on SoundCloud and we want to push a song. We've got an animated video and the song is getting a lot of attention and has the most plays on SoundCloud. I think that if you, if you're getting the most play on SoundCloud, then that's where you need to be promoting, right? If you're getting the most play on Spotify, you need to promote at Spotify. Wherever you're getting the most benefit and reaching the most people is the platform that you need to stick with. Like, you don't have to really reinvent the wheel. You can, you can go where the audience is. What I do is I hit— I focus on the places where the bulk of the fans are. And every artist is different. Like, the end of the year report came out yesterday for, for, uh, BuzzAngle. And they were saying that the top 3 artists on Spotify were, um, Drake, Weekend— Drake, Bieber, and Rihanna. And I know that when the report comes out for, um, other, um, like Tidal and Apple Music, it's going to be different artists. Like, the different types of fans gravitate towards different platforms to hear their music. So If the bulk of your fans are at SoundCloud, absolutely reach them there. But you also wanna make sure that you reach the ones that are at Apple Music, the ones that are at Spotify, the ones that still download music at iTunes. You wanna reach your fans in the way that they like to receive music. And what I mean by that is, if I'm a pure diehard, if, if, if, I'm a pure diehard Spotify listener, I'm probably not going to go to SoundCloud to check out your music. I'm probably not going to go to Apple Music because I'm not a subscriber. I'm probably not going to go to Tidal because I'm not a subscriber. So if I can't get your music on the platform that I want, I'm just going to go and listen to something else, right? When you're new, you don't have the luxury of forcing people to whatever platform. You can't say You can't be Chance the Rapper and say, oh, I'm only coming out on Apple, and if you're not on Apple, fuck you. You can't be Adele and say, you know what, you can't stream my music for the first few months, 6 months, whatever it was. You can only download. I don't download music anymore. I don't even have iTunes on my phone anymore. So if I can't listen to you on Spotify or SoundCloud YouTube, I'm not gonna hear it. There are people that will say to me, like a friend would call and say, hey, check out this guy, he's really amazing, you know, check out his, check out his YouTube page or whatever. And if I'm in the car, I can't do that. I can't stream YouTube on through my car. I mean, I could because my phone is Bluetooth into my car, but I'm not gonna sit there while I'm driving, go to YouTube and Fine, dude, press it to listen to it. So you want to reach people in whatever they're comfortable with. And if somebody says to me, here, check this out on Spotify, I can just click the link and it just plays because that's my platform of choice. Ditto with SoundCloud, ditto with YouTube for me. You know, other people don't subscribe to Spotify and they prefer to hear music on AudioMac. Or they prefer, you know, whatever platform. You want to make sure that you're reaching all the platforms, and at some, at some level, you have to do some promotion on each of them to let people know that you're there, right? And we do general promotion to let people know that we're everywhere, so that when I'm giving out promotional material, all of the links to those sites are there. And if, and if I I'm handing something out that's too small, like a— like an MP3 stick, for example. Um, with Trouble, we gave out these little, um, guns, these little Uzis and these little 9mm that were cool as fuck, but we couldn't— we couldn't, um— and we gave out bullets too, and we couldn't fit like all of the links there. So what we had to do was put his website on there and drive people to the website, and then when you pull up the website all of the links are there so that you can go to his website and, and access whatever you want to access to, um, to get more, um, music from him. Now there are two of you that asked me questions that I didn't get to tonight, um, because they're sitting in the printer downstairs. That's where they are. And I apologize greatly, and I will I will bring them upstairs and I will answer your questions first next Wednesday. So for those of you that are on Facebook Live that are following this, um, I do this every Wednesday night at 7 PM Eastern Time. So come over to YouTube, it's This Is Wendy Day. If you subscribe, it will actually send you, um, a note saying that I'm— that I've gone live. Um, I don't understand, Illflow Bastard. I don't understand. Was I against the Drake feat? Oh, the feature. Um, I was against the Drake feature because that's not his market, and I don't like what it's going to do to him when it comes out. I see, I see the benefit, but He's not there yet. He's not— we're not at that level yet where a Drake feature is going to really take him to the next level. It'll put a lot of eyes on him, and he can back it up. He's got the talent. I think I've answered all your questions. Yay! Oh wait, here's one. Yo 123789, how many teams does a label usually have and would you be able to name them or break them down, responsibilities and stuff? How many teams? How many team members? Um, you've got, um, yeah, I'm gonna try to do it off the top of my head and I hope I'm answering what you're asking. Um, there's A&R, that's the person who helps pick the beats and is the champion inside the record label. They're like the cheerleader at the record label to get everybody excited about the artist and the project. Um, there's publicity— that's the person who's the megaphone. They spread the word about what's going on with the artist. Um, there's artist development— I should say that with air quotes. Um, that's the person that helps develop the artist. There is the radio department. They help get the music to radio. There's marketing— they're the ones that put the plan together of how the artist is going to be worked. There's touring— they set up the promotional tour and put the artist out on the road. There is street promotions, which usually comes under the radio department. There is the internet and social media marketing department, the digital marketing department that do everything online. Um, there's the president of the label who runs everything and kind of oversees everything. I fear that I'm leaving out some jobs and some important ones. Um, in, in bigger labels, there's still retail salespeople because they still sell music like at Best Buy and Walmart. So if you're like, if you're like Taylor Swift, you're gonna have a retail salesperson that focuses on retail sales. You're gonna have somebody that whose sole job it is to get placement on playlists like it's Spotify and Apple Music, etc. And I think that's everything. Merchandising. You're gonna have a department that handles merch, like t-shirts that you sell when you're on tour and on your website. There's the website department. There's the art department that handles, like, your photography and your videos. That's really the video department that handles videos. I think that's it. I think I've covered everything. And of course, the person who answers the phone. Which is actually the most important job at the label because that person knows what is going on in every single department. They know all the dirt and all the drama. Chase Fetty, I have been working on your business plan all day. How cool that you're here. Um, Chase Fetty is asking me what is the most important knowledge I would give to an artist looking to make a breakthrough. Um, look Learn the business is definitely the best advice that I could give anybody, because if you learn how this works, nobody can ever take advantage of you. If, if you know that you're not going to get a record deal by paying some guy $5,000 to set up a meeting with somebody at Atlantic, then you're not going to lose $5,000, right? If you learn how radio works, you're not going to hire some guy to take you to radio and and have him, um, jack you for your money, right? So learning how this business works is probably the most important thing anybody could do, and you're doing it because you're here. And guys, don't just go by me, right? Like, like, learn from as many people as you can. Um, Mr. Red is in red. Mr. Red is asking me, how much does a major label spend on a new artist? It depends. When you do a deal with a label, they have a spreadsheet that they— they have a spreadsheet. Hey Tony, how are you? They have a spreadsheet that they're looking at that tells them exactly how much money they're gonna spend because they're gonna be able to estimate how much you're gonna make. As my steak is here, they're gonna be able to estimate how much you're gonna make as an artist. So they're never going to spend more than they think they're going to make in return. Okay, having said that, they're going to spend anywhere from $750,000 up to $2 million to build a new artist. If, if it's an artist like a Future or a Young Thug where they feel that they can really maximize the return at some point down the road, the budget's going to be on the higher end. If it's an artist who is super duper lyrical and only appeals to a very small niche of the marketplace, um, the budget's going to be closer to the $750,000 range. It just really depends on what they feel they can make. And most major labels are signing artists that they can take to radio because they play the radio game really well. That's like their forte. They're great at that. DJ Babe Detroit, um, is asking me, are there any examples of indie artists that are pulling in a million dollars a year? Absolutely. Trouble is— Trouble's going to make a million dollars this year. Um, right now he's bringing in somewhere between $80,000 to $120,000 a month depending on how many shows he does. That's shows and streaming, um, and merchandise. Our merch game is a little bit weak. We need to, we need to, um, we need to, we need to step up our game. We need to level up on that one. But yes, um, it's not hard as an indie artist to pull in a million a year. Um, Nipsey Hussle is definitely making more than a million. He's making a couple million a year. Um, Chance the Rapper is probably making more than like 20 million a year. Um, Tech N9ne is making a lot of money. Um, you don't have to— your buzz doesn't have to be that big for you to make a million a year, right? Like, at $10,000 a show, how many shows do you have to do to make a million bucks, right? And you could do that. It's, it's realistic. Okay guys, I can smell my steak. So, um, I've been doing this an hour and 20 minutes. I'm gonna go now. I see that I've run out of questions. So, um, and my dog is over there sniffing the steak, the little weasel. He's like, can you hear me? He's making noise because he wants some. Okay, Boo Boo, it's okay, it's okay. Okay guys, next Wednesday, 7 o'clock, be here. Um, make sure you subscribe. This video will post underneath here, um, probably within the next hour. So if you missed anything, you can go back. Those of you that are here on Facebook Live, and there's like 80-some-odd of you, which is amazing. If you go to youtube.com/thisiswendyday, you will also be able to see the, um, the, the post, the archive of this. Um, and feel free to ask questions and I will answer them next week. Join us over here at YouTube and I will answer your questions. All you have to do is email them to me at thisiswendyday@gmail.com. Um, thank you, Always Zoning. I'm happy to do this. I love doing this. I'm glad Mandy sent you. I love Mandy, Slick Rick's wife. She's awesome. Um, But thank you guys, I appreciate you. Have a good night and email me questions for next week. I apologize to the two of you whose questions are sitting in my printer downstairs. My iPad is not close enough to me for me to pull them up to answer, and my phone has Facebook live streaming, so I couldn't pull it up real quick, which was my intention. But I'll answer them first next week, I promise. Okay, good night everybody.