LIVE with Wendy Day #016 | Answering Your Questions Live

Hi guys, this is Wendy Day from Wrap Kolish and thanks for tuning in to my live stream. I'm so happy that you're here. Okay guys, I'm almost there. I'm coming, I promise I'm coming. Hey, I've got a lot of great information for you today. I'm so glad you're here. Okay guys, there's a counter there. I'm trying to beat that counter. As soon as it gets down to zero, I'll be there. Right now I'm filling up my cup with unsweet tea and extra lemon. Guys, thanks for tuning into my livestream. We're We're almost ready to go. I'm so glad you're here. I've got such amazing information to share with you tonight. I'm so excited. I'm so happy. Can you hear me now? Can you hear me now? Can you hear me now? My mic says it's on. Okay, shout out to Scotland! Hi guys! Stacy Holmes, how are you? Are you really in Scotland? Yay, it must be late. Wow, because it's 7 o'clock here, it's got to be like— what is it, like 1 AM? Guys, can you hear me now? Yes, you can hear me now, right? Black Voice, can you hear me? D-Roy, yes, you can hear me. Okay, good, good, good, good, good, good. So, um, I've got you guys on YouTube Live and I've got you guys on Facebook Live. Um, so I'm here to answer questions. Ask me anything you want to know about the music industry. Um, Black Voice, I love you too. Money Baby, how are you? Let's see who's over here. King Dallas, how are you? Oh, Stacy Holmes, it's not that late, it's 3 minutes after midnight. Okay, that's not so late. I stay up till 2 AM myself, so maybe that's late for some of you, but for me My day doesn't wind down till 1:00 AM. Money Baby, you're so welcome. Stacy Holmes wants to know about fake labels. Um, hi Kelly. Fake labels, do you mean people that have record labels that aren't real. Hi James, I'm good, thank you. Okay, Stacy's asking me about fake labels. Um, hi Victor. Fake labels. Oh good, you're explaining it. Ones that aren't doing any real business. Okay, um, you know, the, the thing about record labels is that anyone can start a label. Anybody can say, hi, I'm a record label. It basically takes a business card So I could print up business cards that say I'm a heart surgeon. It doesn't mean that you would want me to operate on you. Um, I, I think that if you're, if you're trying to do business with record labels, you're gonna have to, you're gonna have to, um, do a little bit of research. You're gonna need to find out who's real and who's legit and who's not. And the best way to do that is to look at the of the roster. If I, if I have a record label, let's say it's called Wendy Records— so unique— let's say it's called Wendy Records and I sign MC Rap-a-Loud and Joe Bag of Donuts and Louie Lump Lump. If you've never heard of my 3 artists, then I'm probably not a good record label. And the problem with today's society is when somebody says they own a record label, they don't really know what that means. They don't know that they actually have to start a real legitimate business. And most importantly, most importantly, they need funding because it takes money to run any business. And if you're going to market and promote in this industry, you know, it's, it's not cheap. It's going to take you a minimum minimum of $150,000 in order to get a buzz that's strong enough where you can monetize. That's not what it takes to get a buzz, but it's what it takes to get a buzz so that you can get income coming back into your company. Miracle, how are you? Money Baby's asking me about services that press up promo packages. Um, thank you, Tone Ross. Um, promo packages, yeah, there's a lot of companies out here that press up promo packages. Um, most of them I find on Instagram, to be honest. Um, there's a company that we use here in Atlanta, they kind of do everybody's stuff, and I'm drawing a blank on the name of the company. They're not the cheapest folks out here, but they've been really consistent for, for us. Um, I utilize Club Flyers a lot to press up promo material. Um, I use a company out of Orlando to press CDs for the artists that still give out CDs. Um, miamiflyers.com has some great prices. I print my download cards at vistaprint.com. Um, the USB drives that we give away— USB prices change almost daily, and I'm not exaggerating. They change really quickly. That we, we get them all from China, and, um, I basically go on and just Google USB promotional drives. I usually do USB promo, USB drive promo. I Google that, and then like the first 10 um, hits that come up. They're the people I usually reach out to and get prices, but we press with a different company, um, all the time. Money Baby's asking me about jewel cases. I don't use jewel cases anymore because I give out the product for free. I just use plastic sleeves, um, but you can get jewel cases. I think they're about a penny a piece extra. Black Voice is asking me, how do I market my show? Um, like it's music. Um, marketing is marketing. So whether you're marketing music or you're marketing, um, a soda or you're marketing an iPhone, it's still reaching people that are your potential audience and letting them know how you're different than anybody else. If you are marketing a show, and if I remember correctly, it's a radio show, You want to make sure that you reach out to people that actually enjoy radio shows and then let them know that you exist. You want to suck them in with something that they will find valuable, either an interview with an artist that they really respect, you know, somebody coming up, or you want to let them know how you're different than most of the other shows that are out here. Um, Sean Carter is asking me, what about Alibaba for the USB drives? Alibaba is a great, great, great resource. Um, and if you use them, you want to make sure that whoever you're buying from has a really good rating and that they ship with e-packages because they get to the US faster in like 10 to 20 days. Um, and they also, um, you can track them through the United States Post Office. They have tracking numbers, and, and you kind of want that. Um, I don't use Alibaba. I don't usually have that kind of time. Um, go figure, some of the rappers that I work with don't plan ahead. I know it's hard to imagine, but try. Um, I don't usually have a month to wait, so I usually order my USB drives um, in the US. Tony has even bought them off of eBay and loaded them himself. It's a lot of work. I, I don't like doing that. Um, DJ Mad Links, oh my gosh! Um, uh, Tony's loaded them himself. I don't like to do that, so I don't do that. I prefer to buy them from a company here in the US. Um, there is a huge price difference, but there's a, a very long wait, um, sometimes to get, to get a large amount of MP3 sticks from China. The e-packages are only good for packages, I think, under 4.4 pounds, if I remember correctly. And that's not a whole lot of USB drives, but it's, it's like, it's good for if we're just trying to like hit off all the DJs locally. It, it works really well to order from Alibaba. I like Alibaba, actually. There's also another company, AliExpress. .com. Wes Bryant, how are you? Um, Derek Hold is asking me, did I get common in the business? No, I sure didn't. Um, AliExpress, um, also is a great place to, to, um, buy stuff cheaply. New Broadway is asking me, is it a good thing when a label asks you what you're doing with your music? Um, if you want to be signed to a label, yeah, it's a really good thing. It means that you've, you've hit their, you've hit their radar. Um, but that doesn't mean that they're going to sign you just because they're calling you and trying to find out. It means they're watching you, and if that's your goal, then absolutely. You know, whether you are, whether you are trying to get signed to a label or make money independently, you still need to take kind of the same steps. You want to build your buzz and create your fan base and then increase your fan base. So it's kind of the same path that you take. The difference is if you're looking for, um, a record deal— and I'm not quite sure why you would today— but if you were looking for a record deal It would mean that you'd also need to market and promote towards the music industry. Okay, Wes Bryant, that was really funny. Okay, Black Voice is asking me, how do you get to the people without a lot of income? So you're trying to reach poor people, I think that's what you're saying. Um, hit communities where poor people live, do some street team work in poorer areas. You can also hit— I do this a lot for street rappers— there's a website that ranks different schools in every area. So you can go to the, the areas that are near you, the cities and the towns near where you are, including your own town obviously. And you can rank the high schools, and the schools that are the lowest performing almost always are in the poorest neighborhoods. As fucked up as that is, it's just reality. So, um, my suggestion would be to go to one of those sites that ranks the high schools, find out the ones that have the worst record of success and market towards folks in that high school, because I'm assuming that that's your market, right? Your market for rap fans is 13 to 26 for the most part, you know, a little bit older if you're making music that attracts a fan base that's a little bit older. Um, I can't sit here in my office and tell you what your fan base is. That's something you're going to have to figure out. Todd Schlott is asking me, um, IDJ2, thank you so much. Um, you're saying that I have great content and I really appreciate you. Um, you heard me say that I believe Spotify playlists are on the way out for building a buzz. Oh no, no, no, no, no, I didn't. No, what I said was everybody's jumping on that, so in a minute it's going to be really hard to get on playlists. And it's gonna be really expensive because since about July, everybody including myself has been jumping on getting artists on playlists. And Facebook Live, I'm gonna come back and read some of your questions too. I'm juggling between YouTube Live and Facebook Live. Todd's asking if you should be selling tickets for a show. Um, no, no, I don't see the upside of, um, you paying to get on a showcase in that respect. You're actually just performing in front of a lot of other artists. Um, the only time that I recommend that is if you haven't performed a lot and you need to hone your show, then it makes perfect sense. I love showcases for that aspect, but if you're looking to build your fan base, it's going to be a little bit harder And I know all of you guys that do showcases out there right now are cringing to hear me say that, but they're awesome for, for testing out a new routine. Or if you haven't performed a lot, you, you don't want to hop up on stage once your song gets hot and you haven't already performed a lot of times. And by a lot, I mean like 50, 60 times. You want to make sure that your show is tight and that you can hold the crowd. You also want to have bad things happen to you in a practice environment and not when you're on stage in front of 15,000 people. So if the sound goes out, you want to learn how to handle that. If you start getting booed, you want to learn how to handle that. And, and that's, that's what showcases are great for. But if you're trying to, to perform at a showcase to build a buzz, it's going to be a little bit challenging. Manager Ank is asking me, how does a PRO know if and when an artist's songs are being played in clubs to be able to collect license fees from them? Um, you would need to ask ASCAP or BMI that, or even SESAC, because I don't know how they track music in the clubs. I do know that they track radio play, um, by the fact that, that the songs are fingerprinted. I know that when I asked ASCAP a couple years ago how that they— how they make sure that it's accurate, they told me that they hire people to audit different radio stations to make sure that music actually played. And that's part of their job. That's what they do. Go to ASCAP.com or BMI.com. I'm sure they have a section on there. That explains how they track, um, spins in the club. Micah, I'm a rapper, singer, music producer, ghostwriter, songwriter. I appreciate you explaining on your channel how to get on. I've been trying to contact you since I heard of what you do. Um, you can email me. My email address is underneath all of my videos, and I respond to everybody. If you call me, I won't call you back, but if you email me, I will email you back. D-Roy is asking me, does it matter to copyright, um, your bears? Um, copyright is very important. I've got a video on it, so feel free to pull that up. Um, somebody is asking me how they get— Tone Ross is asking me, how does a producer get their tracks in the right hands? I've got a video that answers that at length. Um, also in the last two Wednesday Night Lives that I did, I answered that question, so I'm gonna bypass you. It's not that I'm trying to be rude, um, it's that you can go back to last week and the week before and, um, get that and get that answer. Thank you, Gorilla Ron, appreciate you. What is the best way to get your songs to the DJs for free. The best way to get your songs to a DJ really is to build a relationship with the DJ. Um, get to know the DJ, go visit the DJ in the club, get there early, don't get there while it's popping and hand your song and expect it to be played. It's not going to happen. Um, but this is very much a relationship industry, and unless your song is a slam dunk runaway hit record, there is no DJ in the world that is going to just start playing it until they know who you are, they've gotten to know you a little bit, maybe you've bought them a drink in the club. I don't necessarily think that you should pay DJs to spin your record because if you pay every DJ in the world, it's going to get really expensive. But if you put in the work on the streets and you build your buzz and they've heard about you and they know who you are, it's going to be far easier to get your record played than if you're just some guy who started rapping yesterday and showed up at 1 AM and said, here's my record, play it. That does not work. Build a relationship. Racio Texas Boy, hey. Um, Creator of Music, I can't go too much into detail, um, about that. Um, Creative Music is asking me about the record label that Tupac was creating. Um, it would have had a positive impact on the community. Absolutely would have. Um, it was called Euphanasia, and it's not that I'm trying to avoid the question, it's that there aren't a lot of details because we never, we never finished the business plan for it. I was in the process of writing his business plan when he passed away. Um, but his plan was— I don't know who he was going to sign I do know that in his career he was planning on being a uniting force between the East Coast and the West Coast. He had even started to record with some East Coast artists. I know he did some stuff with, um, with Duck Down, the guys from Duck Down the label, um, from New York. Um, and I know that his plan, he was going to name it One Nation. I know that some of the songs were done. I know they're out there somewhere. I don't know where they are. I don't know if he was going to continue that trend with his label or if he was building a label solely to make money. We didn't get that far, so I can't tell you what, what Euphonesia was going to entail 100%. I do know that he was going to build community centers in the inner city, and I do know that he wanted to Um, he wanted to build daycare centers so that, um, people could leave their kids for free in a safe environment while they went to work. I know that was another thing that he was planning on doing. Money Baby's asking me how you develop a relationship to be able to open up for an artist. Um, I did two videos on how to, um, on how to get shows and how to get paid for shows. But you develop a relationship with the promoters. But remember, you've got to have a buzz, because if somebody is going to put you on to open, they want to know— you're welcome, Tone Ross— they want to know that you're going to bring people to the show, you know. They— and I don't think you should ever pay to open. I think you should put the money into building your buzz at the street level so that you'll have a fan base that will come and see you perform. Brooke! Wow, Brooke is over here on Facebook Live. Brooke used to call me the hip-hop fairy godmother, and Brooke, you named my company. I don't know if you know that or not. Not my company, but my, my website. My website is helpfulangel.com, and it's something that you said to me once back in 1993 or '94, I think. Um, and you are the reason that my website is, um, helpfulangel.com. And I miss Cap. Do you miss Cap? I really miss Cap. I love you, Brooke. I'm over here on, um, I'm over here on YouTube on my channel, my YouTube channel. I go live every Wednesday night at 7 PM, and I decided to, I decided to come here and bring you guys in on Facebook Live as well. Sean is asking me, why would a Sony A&R email our talent booking email address asking to pay for an MP3 submission? Um, because it's a scam, that's why. Um, guys, when you get emails from people at the labels, please make sure that they're from the actual, um, email address of the record label, like @sonymusic.com @atlanticrecordings.com or @umusic.com. There's a lot of people out here scamming. They troll ReverbNation like crazy, and they'll reach out to you saying that their baby or their— somebody called me this week saying, you know, I got an email from Gucci Mane at 7:30 in the morning telling me he would do a feature for me for a discount price. But the email address was not Gucci Mane. It looked like Gucci Mane, but it was at a, um, like at a— I don't want to give away the address because I don't want to blow anybody up, but it was like @yahoo.com or @hotmail.com. And, um, it was obviously a scam when the, um, person pretending to be Gucci Mane reached back out. He told this person to reach out to Coach K and then gave a fake Coach K email address. Um, by the way, um, Coach K does not manage Gucci Mane. Amina does. So it's, um, it's a scam. You're getting scammed. Um, what's coming around the next corner? Streaming is still, um, is still going to grow. I think that, um, mobile— mo— mobile is the future. I think in a minute none of us are going to use our desktops or our laptops. We're going to use iPads and, um, we're going to use iPads and phones, smartphones, for everything. I know that my iPhone is almost more powerful than my laptop, and my laptop is only maybe 3 years old. Crazy, right? I love Mad Links. Thank you, Sean. Sean's telling me that, um, Rapco and Telpro gave him an excellent foundation. Um, hi Kelly, um, and thank you so much, that's awesome. Um, Rapco and Telpro was a website that I set up in the '90s to help educate artists for free. Um, it's kind of like what I'm doing on my blog and my, um, YouTube channel, basically. DJ you. Pen Nostrand, I do not want to be president. I couldn't possibly do that job, man. Um, DJ Shorty Black is asking me, do I think DJs should have a manager? Um, yes, I, I think that, um— hey, Jay Harden— I think that it's important to have a manager and somebody to handle your business because there's a lot of people out there that are, um, very nervous to deal with artists directly. I don't know why that is. I prefer dealing with artists directly, but that might be because I've been doing it for so long and I'm kind of comfortable, um, I'm kind of comfortable dealing with artists. Okay, let's come over here. Hi guys! Okay, Creator of Music is saying, let's say I had a record label that I wanted to start, could I help you build it? Um, I absolutely could. I don't want to turn this into a Wendy Day commercial, that's not why I'm here. So I'm going to send you to helpfulangel.com and, um, you could reach out to me. Um, yes, Todd Moskowitz does still manage Gucci, but Amina is the one who— Amina was, um, Young Thug's manager as well. She's not anymore, but Amina handles all of his, um, features, and, um, that's who you'd reach out to for, uh, like after parties after his shows. Um, Todd does kind of the big stuff. Racio Texas Boy is asking me about how many CDs do you have to give out in your city to build a buzz. Um, it depends on your city, the size of your city, and how you want to saturate it. So I would buy them if you're in a small city. I would buy that and, and make sure you're in an area where it still makes sense to give out CDs, right? Um, if you're in, um, the Midwest or you're in the Northeast or you're out on the West Coast, it does not make sense to give out CDs. In the South, we do still give out CDs, um, for Trouble. For every time he puts out— well, I shouldn't say every time because we give out less and less every time we release something, but we started with about 60,000 or 70,000 CDs, um, and, and our target market was, uh, Georgia, North Carolina, South Carolina, Alabama. Um, I think that's it for where we started, and a little bit of northern Florida, but not too much. Um, but we gave out 60,000 on the first, maybe 70,000. We press it 10,000 a pop, and we just give them out until we saturate. And we, we know we're saturating when we go someplace and we give out CDs, and most of the people are like, nah, I've got it, I've got it, I'm cool. Um, that's basically when we stop. I don't think you should buy them 10,000 at a time. We pay about 30— we pay about 3 grand for 10,000 CDs, if I remember correctly, with the inserts. And I wouldn't recommend you pressing 10,000 every time if you're in a smaller area than Atlanta. Maybe press 5,000 at a time because I don't want to see you eat a $3,000 loss once you saturate. Manager Ank is saying he's having a hard time finding people that actually put business plans together in a professional format. Um, you have it in layman's terms But you need to start having the plans in a professional format for investors. Yes, the more professional you can have your business plan, the more likely it is that you're going to attract a legitimate investor, right? Um, there are companies out there if you Google business plans. Um, the cheapest I've ever seen a business plan that was about 5 grand. Okay, Predator Records is saying let's say it's an area of 100,000 people. Um, I would probably— 100,000 people, that's not a huge area, right? Because out of those 100,000, it's probably like 10% that are into rap, right? Um, I, I might even press— I might even press 2,500 at a time. And then just give them out. You know, understand though, you're going to go outside of your city, right? You, you've got to go— if you're trying to make money doing this, you're going to have to go further than just your city or your town. You're going to have to go, you know, like you're going to draw like a circle that's like a, you know, a 5 to 7 hour driving radius from where you're located. You're also going to need a budget to be able to do that. Okay, Rocio Texas Boy saying Louisville, Kentucky. Um, you're gonna hit Louisville, you're gonna want to go down into Tennessee, you're going to want to go over towards like St. Louis, Missouri, you're going to want to go up towards, um, Indiana, like Indianapolis, um, maybe even to Fort Wayne. I wouldn't hit Chicago until you really start popping. Um, I would press it 5,000. I would press 5,000 copies at a time, and then when you get down to like maybe 1,000 copies left, I would press another 5,000 if you've still got places to go to give out, um, CDs. Predator Records is asking me why North Carolina and South Carolina for trouble. Um, because you want to draw a circle that is like a 5 to 7 hour driving radius, and that's from Atlanta to Charlotte is like 4 or 5 hours, so it's part of our territory. Also, North Carolina and South Carolina are great markets. Predator Records has asked me, is North Carolina a good market area? Yes, it is. Charlotte is good. Raleigh, Durham, Fayetteville is awesome. We've made a lot of money in Fayetteville. Money Baby saying, I'm from Virginia, on my mama trouble is like our Jay-Z. Yeah. He's, he's, he's killing it. Dave Vids to View is asking me, who files the artist songs with the PROs once they start touring and making moves? Because I don't think they have time to sit down at a computer and register every song they make. Um, we file, we register all of our songs, um, and it's actually the split sheets that you register. You go into BMI.com or ASCAP.com and you type it in. Um, the artist can do it, the manager can do it. Somebody on your team should definitely be, um, putting in the information because that's how you get paid, right, on the splits. The way PROs pay, they pay twice a year on the most— for most artists Um, when you get a little bit bigger, you can, uh, negotiate a different pay arrangement with them, but for the most part, they'll pay twice a year. You'll get paid for the music that spins at radio and clubs from January 1st till June 30th. You get paid— the check usually comes around September. And then from July 1st to December 31st, that check usually comes around March. And I swear I'm forever calling BMI and having to have them resend the check. It's crazy. Silence is God is asking me, should I keep using YouTube and Facebook to promote my music? Absolutely, that's what we do. DJ Infamous, DJ Infamous, did you see the article in Pitchfork, um, about your trouble release, I had to hit Dude on Twitter and let him know that it wasn't a Trouble release, it was a DJ Infamous release. I'm a little bit sad that he credited it to Trouble instead of to you, but he loved it. I think it was a 6.9 rating, so 7 out of 10. Dude, I'll take that. It's fucking awesome. What are you guys doing over here? Oh, I maxed out on my messages, huh? Yeah, I maxed out on my messages. I can't even read any more of my messages. My beautiful Facebook people, if you come over to, um, if you come over to my YouTube page, I can actually, um, answer your questions. Because I appear to have maxed out. It's, um, youtube.com/thisiswendyday. I go live every Wednesday night at 7 PM Eastern Standard Time. You can ask me anything. Okay guys, come over to, um, to YouTube. Crap, I just hung up on them. Okay, now it's playing over here. Stop, stop, stop. Okay, that's Gangster barking. He's saying hi to you guys. Yeah, 6.9 is dope. I'm— I was really happy with that, Infamous. Silence is God is asking me, is SoundCloud still a good source to promote music or something else? No, we still use SoundCloud heavily. Um, the thing about, the thing about, uh, SoundCloud is that a lot of the blogs— like, we don't even send Trouble's music to the blogs anymore. They just pick it up from SoundCloud. Like, as soon as we post a song on SoundCloud, they'll pick it up. So obviously people are still, um, checking out SoundCloud. It's— for most of my clients, it's the number one place that people find their music, you know, for, for newer artists. Um, Predator Records DJ Infamous is from Virginia, but he's in Charlotte, North Carolina, I believe. And, um, oh, you already said— never mind, he already answered. Todd is asking for the best place to get t-shirts screen printed and press to— for— and to press up other apparel. Um, we use— I just did a video today, it posted at 11 o'clock this morning about selling merchandise. Um, so I talked about mostly the print-on-demand companies because most of the folks that are here tonight, um, and that follow me on YouTube, they aren't at a point yet where they should be spending thousands of dollars to press up shirts when they don't even know if they have a fan base ready to buy them yet. Um, so what I do when, when I'm not using a print-on-demand company, um, again, with, with screen printing, it's kind of the same as the USB drives. The price changes based on how busy the screen printer is. So I will go out. I'm not really loyal to one screen printer. I will actually find the best price out there and then have that person press up the shirts. What I'm loyal to is the quality. I want, um, good quality shirts. I don't want something that somebody wears, you know, 3 times and washes 3 times and it becomes really dull or yellow or, you know, falls apart. So, um, when I do press shirts, I make sure it's a pretty good quality, but I prefer print on demand. You make less money, but it's great for somebody who's just starting out and they don't know like what sizes to press up a lot of. You know, do you press up a lot of larges or do you press up a lot of smalls or mediums? Um, it gives you the opportunity to test different designs on your website. Obviously, if you're, if you're selling merch at a show, you're gonna have to press up some, um some, uh, shirts. But for the most part, um, we use Printful, we use Zazzle, we use CafePress, and they drop ship directly to the purchaser. And again, you pay for that. You know, if, if you're, if you're selling a t-shirt for $25, you might only be making, you know, $7 to $10 on a shirt, but you don't have to turn your garage into a storage facility and you don't have to be running to the post office twice a week to mail t-shirts. So DJ Infamous is asking, at this moment, since Sprint went to gain a third of Tidal, which would you still prefer for artists to place music— Tidal, Spotify, or Pandora? Um, I'm a big fan of— actually, the real answer to that is all of them. You want to be everywhere because you don't you don't want your fan base to not be able to find you. And the average fan does not have Spotify, Apple Music, and Tidal. That's $30 a month. Most people don't do that, so they'll go to one or the other. So as an artist, you want to have your music everywhere. So you've got to kind of be everywhere, right? Um, the, the great thing about Tidal, what this does, um, first of all, it it keeps the company solvent. I don't know if you noticed or not, but the day before they announced that deal, there were some articles in the business press talking about how Title wasn't doing very well and they were struggling. And then the very next day, they announced the Sprint deal, which was kind of amazing. And if you guys haven't read it, go to Forbes.com and search for Title, and you'll see all the, the recent articles about Title. But what this does, Infamous, is it's going to put Title on all of the Sprint phones. So even though it doesn't force people to subscribe and pay that, you know, $10 or $20 a month, it does give people access and it kind of makes it easier for them to join. They just have to click on the, on the, on the spot and sign up, right? So put the credit card in. So it makes it a little bit easy— easier. It especially makes it easier if if they're going to put the price into your Sprint bill, meaning you can subscribe to Tidal and then just pay for it with your Sprint bill every month. If they do that, it's going to be out of here. But, um, I don't believe in playing favorites with the streaming services. You know, it's like back in the day, people would give bonus cuts on their songs that came on their, on their, on their albums that came out through Best Buy or through Target. And all that did was piss off all the other retailers so that when you needed support on your next album, their attitude was, you know, hey, you, you gave somebody else a better deal than you gave us, you know, fuck you. I just, I, I, I don't see the value in pissing people off. And you asked me something else. Oh, Pandora. Yeah, Pandora is getting a little aggressive right now. Um, if you guys follow Questlove, he is their um, he's their ambassador, so he's been doing a lot of cool stuff with Pandora. Um, he released a song featuring Q-Tip that's going to be up until Friday, so if you go to Questlove's Instagram page, you will see the link for that. Um, but yeah, they're getting a little more aggressive too at Pandora. Pandora pays well too. Manager Ank is saying, yes, you can piss off your fans after a few washes when the shirt looks crappy, and then you've created a bitter fan over a t-shirt. Exactly. You've not only created a bitter fan over a t-shirt, but you've created a bitter fan because you saved— you wanted to save 50 cents or you wanted to save a dollar. Like, the, the difference in price between a shitty t-shirt and a decent t-shirt is minuscule. And it's, it's not cheap, guys. You know, you're gonna pay like $5 a pop to get a t-shirt printed. So if you're giving them away, it's like handing a $5 bill to everybody that asks you for one. The great thing about a t-shirt— and I said this in my video this morning— the great thing about a t-shirt is it's like a walking billboard for you if somebody wears it, especially if you're smart enough to give them out to like the hot chicks. You know, if you give hot chicks a baby tee or a wife beater with your logo on it in the summer, you know, it's gonna get seen. I'm just saying. And Todd, make sure you, um, make sure you, um, when you're pricing it out, if you go outside of your local area, like there— I can't find a cheap printer here in Atlanta. Um, so I go outside of Atlanta, but make sure you add in the shipping costs. Like, don't just compare the t-shirt price because if you're gonna go pick it up, um, locally, it might be $5. But if you order some from California and you're in New York, that shipping cost is going to make those t-shirts more like $7.50 a pop. So it may have been better to spend the $5 locally. Jet 2 is saying that, um, I've gotten my first couple of albums on Pandora and I noticed it's nearly impossible to get on there. Oh, please, who you telling? Um, we have been chasing them. We've got, um, we put out 4 albums with Trouble, and then he's got 4 from before Tony and I were working with him, so there's 8. And I think that there's only like 5 or 6 of them up on Pandora, and Tony calls them like weekly to get the, the music up on there because we make a lot of money with Pandora. Trouble makes a, you know, a nice check with Pandora. So if he had more music, he would make more money, but for some reason we can't seem to get them up there. There's just, you know, that's one of the joys of being independent. Cool, you guys are sharing information. I love that. Yeah, exactly, Todd. Like that, like, you, if you don't figure in that shipping cost, you can end up paying, like, overpaying. That's true with anything. That's true with business cards. That's true with flyers, with posters. You know, I remember, um, I thought I was saving $50 on, um, posters by printing them, you know, across across country, and then I ended up paying like $50 in a UPS charge, and I was like, oh my God, like it doubled the price. I didn't save anything. Oh, Beeman, that's nice of you. Beeman just said, um, rest in peace to Q from WorldStar. Mary Tyler Moore passed away today too. I'm old, so I kind of care about that shit. Um, Predator Records is asking, how do you start an Apple Music profile? Um, you have to actually join. Um, you got to become a subscriber to start an Apple Music profile. It took me the longest to figure that out. Um, but once you, once you subscribe to Apple Music, um, if you just Google how do I start a profile. It's really easy. And the cool thing about the Apple Music profile is it's, it's similar to like Facebook or Instagram where it's a feed and you can link your YouTube videos in there and it still counts towards your views and you still get paid. And by the way, if you have like a snippet of your song in your profile, in your, you know, in your feed at Apple Music You also get paid when people listen to the snippet. It's, it's good to be famous, but it's even better to monetize that fame and make money. It's important to do that, right? I love this, and I'm not gonna read your name because it's like this long and it's basically like all cash money hashtags, but you just said take a Fruit of the Loom shirt and sell it for $30 a pop. I like the way you think. And obviously sell it for whatever— sell it for whatever your market will bear, right? If you're selling for $30 and you're not selling a lot of them, you know, drop the price maybe to $26 and see how that goes. If you don't sell a lot of them, maybe drop it to $23 and see how that goes. You'll eventually find the right price. Um, hey Greg, and, and make sure that, um, make sure you try different styles too, because, um, Trouble has a t-shirt that has a lyric from Ready on it, um, can't get involved too deeply, and people that don't even know who he is buy that t-shirt because they like the saying 'can't get involved too deeply.' Like, it, it reaches them in their everyday life, and they're not Trouble fans, they just like the t-shirt. Yo123789 likes, um, Gildan. Um, my t-shirts are, um, Gildan, and they're actually, um, tagless. All the t-shirts that I do for my Wendy Day logo is tagless. I don't need to put in my own tag. I don't care about that. But if you guys want to look like you have your own clothing company, you can certainly put in your, um, your own tag. Predators Records is asking any extra advice on releasing videos into the market. I I think the best advice I can give you is once you've got a buzz, to hire a video promoter to work your video. They run about $2,500 a month, and they get your video on all of the channels that matter. They get us into BET Jams, Fuse, Revolt, you know, the, the ones that— the big ones. And then they get trouble onto all of the smaller independent video shows. And if you're on the West Coast, that really matters because the smaller independent shows are plentiful in the Northwest. Um, they also get you onto Reels so that your video is seen in hot topic, um Foot Locker's, or is it Foot Action? One of them. Um, LA Fitness, you're on the reel so that when people are working out, your video plays on the screen. They change monthly, those videos, and they get you onto those as well. Um, the most important thing you guys can do is build a buzz. If your, if your music is reacting um, it's going to be much easier to get placements than if you don't have a strong following. We recently— we release a lot of music into the marketplace. We try to put out at least one song every other week. Um, it's not— it's not always realistic because as you get bigger, you get busier, and it gets harder to record. It gets it's harder to release. Your team has to get bigger. Um, but we put out a lot of music at, um, we put out a lot of music at, um, for my artists, like weekly if we can, and if not, every other week. Um, Stan Smith is asking, how do I go about looking up SoundScan data and how much does it cost? I don't know what it costs anymore. It used to be $500 to— if you weren't a subscriber, to subscribe for a certain period of time. Um, the last time I tried to pull SoundScan, just like a one-time pull for an artist, um, it was somewhere between $50 and $100. I haven't done it in a long time because it just doesn't matter to me what the SoundScan is. Um, but you can reach out to SoundScan. You can Google them for their phone number. They're in the 914 area code. They're, um I think it's Westchester, New York, somewhere upstate— not upstate, but, you know, north of the city. And whoever answers the phone at SoundScan can tell you what the price is and how long it takes for them to pull it. If you've got a friend at a label, they can probably pull it for you as a favor. I would tend to go in that direction. And then if you're trying to pull information on If you're trying to pull information on internet radio, you can go to digitalradiotracker.com. You can sign up for a free account, and there's now— they just added last week, I noticed— a search engine so that you can go in and type in your artist name, or your name if you are the artist, and you can see if they have any information on you so that, um, you don't end up trying to pull your information and there is none. You know, they haven't tracked you, and you don't pay for a blank report. You actually get a, um, you actually get a, um, a credit for that. Jet 2 is saying, when you do video promotion, should you make an edited version of the song? I do, yeah. Absolutely. Radio songs need to be edited too, right? And we shoot our videos to match the radio version. DJ Infamous is saying that he used to get SoundScan reports every week, but he kind of not— doesn't care anymore about it. I don't either. I get them every Monday, and I can't tell you the last time I opened— actually, I can tell you the last time I opened one. Um, when Flawless released his album in early December, I pulled the SoundScan for the week that, um, that it would hit SoundScan to see how many, um, full-length albums he sold. It was a couple hundred. I, I can't quite remember the details, but that was the last time I pulled SoundScan. That was in December. Prior to that, it had probably been about a year since I pulled SoundScan. It doesn't matter to me what somebody is selling. Um, SoundScan for me is useful if I'm looking for the markets that somebody has hit. Like, I want to know if they sold better in Washington, D.C. than they did in Norfolk, or did they sell better in Baltimore than they did in Boston. That, that's where it has value to me. And that's usually only when I'm writing a, um, that's usually only when I'm writing a marketing plan. Um, Todd, yes, there is going to be A3C. They have it every year. It's here in Atlanta. Um, I did not speak this past year on a panel. Um, I was there, I went one of the days. Um, sometimes I speak at A3C, sometimes I don't. It's just, it's really who asks me if I want to be on a panel. Yo123789 is asking me, um, I heard Hot New Hip Hop doesn't charge to have your content posted. Is that true? Um, you know, I don't, I don't know. Um, I don't send, I don't send music to blogs. I hire a publicist to do that. I always want the person with the best connections to ask for the favors, because if I ask for a favor, I don't necessarily get it. But somebody who deals with the bloggers day in and day out is gonna have a better relationship than me. I'd rather pay somebody to do it right than to screw it up myself. Even when I put out my book, I hired a publicist. I didn't do it myself. That kind of tells you right there. And none of the blogs should charge. I understand that they do, but if you're paying to get on a blog, that's kind of a giant red flag saying that your buzz isn't hot enough. With Trouble, we never paid to get on a blog. We just didn't get on the blogs until they found him of value and He's doing okay. He's right now, he's making about $80 grand a month. We had him up to $120,000 a month. Greg is asking me, what's the price range to get a song on mainstream radio? Um, urban radio— I'm gonna answer your question, I know you're asking mainstream, but urban radio, um, regionally you're gonna spend between $30,000 and $50,000. Rhythmic radio, you're gonna spend around $50,000 to $75,000. Pop radio regionally, you're gonna spend upwards of $100,000. If this helps you, when they took YFN Lucci to number 1 at urban radio, about $200,000 was spent. Thank you, Infamous, for answering that. And thank you, Get Lifted, for weighing in. I also think it is, um, I think it's easier to get videos posted than music anyway. And again, I wouldn't, I wouldn't spend money to get on a blog because that's just telling you that you haven't put in the work, right? Um, DJ Infamous, we love Jen the PR over here. Oh, let me read this. This, this is, um, really helpful. DJ Infamous is saying that he was just told by Jen the PR, um, to go about getting on Hot New Hip Hop. Every artist should have a write-up on their material, music, or video. Because it's more professional. Absolutely. Even if you have, even if you have an EPK, that would be awesome. Predator Records is asking, how do they recoup? How does who recoup? The artist? Ask me that again because I'm not sure what you're asking about recouping. Albertson, Joseph Albertson is asking me, hi, I'm from Boston, Massachusetts. 'How can I draw a market plan for my city?' You draw a marketing plan for the artist and then the city that you hit. You're gonna hit more than just Boston, right? You're gonna hit New Hampshire, you're gonna hit Massachusetts, you're gonna hit New York State. I'd even come down into Pennsylvania. I did— I'd avoid New York City because it's so expensive to work a record in, um, in New York. I would, I would bypass New York City until I started getting like— until my artist started popping, and then I would come back into the city. Todd Schlott is asking, how can you tell when a manager is serious about you? Will they ask for money up front? Absolutely not. Um, Todd, I've got 2 videos that explain, um, management. One is how to find a manager, like when and how to find a manager, and no, you never pay them up front. And then I've got a second video that you should be a little bit nosy and take a look at. Um, the topic is how to become a manager, and if you watch that, even though you're not trying to be a manager, you will see what it takes to really become a manager. And then when you're choosing your team members that will tell you, um, what to look for in a manager. Joseph, I feel like I didn't, um, answer the question that you were asking, um, about your city, which is Boston, and it's really not easy to break in Boston. Um, I watched Joyner Lucas do it and it was very challenging. Um, but what you would do is you would put together a list of all of the, um, all of the places where you need to frequent— the hip-hop gear shops, um, any of the malls, the high schools, any place where your market hangs out in Boston. You'd want to put together a list of any events that attract your market, the colleges where your fans attend. A list of all the DJs for the clubs, for radio. I think it's E-Dub, isn't it, who is the biggest DJ in Boston? You're gonna want to build a relationship with him and blitz your city, you know, let them know that you're there, do everything you can, perform as much as you can. Absolutely, Get Lifted, he's saying Get Lifted is saying, I advise artists to write a synopsis for every single and every project. There's a lot of blogs that love to copy and paste or just revise a little of what's already submitted to them. Yes, um, and forgive me, I don't know if you're male or female, so I just called you a him. Forgive me if you're not. Um, but yeah, the easier you make it for somebody, the easier it's going to be for them to help you. Michelle Rosado, forgive me if I just butchered your name. What do I think about the Spanish hip-hop and trap music coming out? What's your view on that? And where do you think it could be in the— where do you think it could in the past few years? I'm not sure what the second part of that question is. Um, I, I think that every niche has value. You have to find your fan base. If you're making Spanish hip-hop or you're making, um, Spanish trap music, you just need to find the fans that are going to embrace that. I think it's easier to work in a niche than it is when you're a pop artist and you're trying to reach everybody. I, I just think, you know, it's all about fan base. It's all— everything you do is about connections, building a buzz, and fan base. That's, that's really all it is to success in the music business. So as you, you know, whether you're a trap artist or whether you're super lyrical, whether you're rhyming in Japanese, there's going to be a market for you. You just have to find it, and you've got to find it online, and you've got to find it on the streets. The problem with painting for blogs, guys, is that once you— I'm glad you said that, Maggie Love. Is it Maggie Love or Maggie Love? I'm glad you said that because I called you he and I can't tell by a name, so thank you. You know, when you pay for blogs, once you give somebody money and you have another song coming, how do you not pay them the second time or the third time or the fourth time? You know, it's once you set precedent in paying— and by the way, these guys all know each other, so you can't pay Hot New Hip Hop and not pay XXL. You can't pay XXL and not pay The Source. You can't pay The Source and not pay AllHipHop, you know? Like, I just, I just don't reckon— I don't recommend that. You're gonna shoot your whole budget on blogs. And like I said, we just built an artist without blogs. McGee, thank you! McGee Love, thank you! I like when you guys tell me how to pronounce your names. That doesn't mean I'll remember though, right? But thank you. I hate when I mispronounce names. Guys, you can't really start a buzz anymore on the blogs. The fans just don't— so what happened is so many people came to the blogs and started to buy, they started to buy placements that the fans realized very early on that a lot of the music that the blogs fans were posting was garbage. And once you— once your brand gets tainted like that, it's just really hard for people to trust your judgment. So now when fans go to blogs, if they don't recognize the name of the artist, like if they haven't heard of that artist before, it— they don't even really pay attention anymore. It's been burned out. I have a video that I posted probably back in, um, October or November about the blogs. And DJ Infamous just said the same thing— most of the music was garbage on most of these blogs. That, that's the problem, you know. Once you start, once you start taking money, you know, How do you accept one artist to pay you $1,000 to post something, or a couple hundred bucks to post something, and then you don't take the next artist because you say that your music's not good enough? Like, most people don't do that. They just take double the money, you know. They just— they're in it for the money. And once you— once you are in it for the money, people no longer trust your judgment as a knowledgeable person about music, right? And I don't know anybody that finds music on blogs anymore, you know, unless it's somebody that they've already heard of. Like if Young MA drops a new song, or, you know, Young Thug, or Trouble, you know, he drops a new song and it hits the blogs, people pay attention. But when we were first working with Trouble and we tried to get him posted on the blogs. Like, they did not give a damn. They just so did not care. Okay, Get Lifted is saying blogs are great for increasing your SEO at this point for the links, and that money over quality ruins platforms. Money over quality ruins everything, everything. Um, Todd, you, you don't necessarily get Twitter followers from doing showcases. You get Twitter followers from building your buzz. When, when, you know, I hate to keep using Trubb as an example, but, you know, he's what I'm working on now, so I'm gonna just keep using him as an example so that you guys understand. When I started working with him, he had like 20,000 followers, you know, on Instagram. He's now at— he had less than 20,000 on Instagram, that was Twitter. On Instagram, he's now at like 230,000 or 240,000. That came from building him slowly, and that came over like a 2 to 2 and a half year period, right? That's how long it took us to grow him. Okay, Predator Records, thank you. Now I understand, um, and I'm gonna answer that in a second. Okay, um, Predator Records is asking me, how does the label recoup profits once they've spent huge amounts on an artist like they did with Lucci. Um, Lucci made so much money that he was able to pay it back, and the artist pays it back out of their share. Um, just, just let me just give you an example. There was a point in time where Lucci was making $25,000 a show. This is before his single went number one, okay? He was making $25,000 a show. He was probably performing 3 times a week. Week, he was streaming millions of streams, and he was putting up videos and making money through his YouTube placement. So he was— if you kind of just roughly do that math, that's a lot of money. So if the label partners with him on that income and they say, okay, we're going to spend X amount of dollars to promote your career but we're gonna split the proceeds, you know, 70/30, meaning 30 come to the label, 70 come to the artist, or 50/50, or whatever the deal is. I don't know what Lucci's deal is at Think It's a Game, um, but the label recoups from that income and then they split the profits with the artist. An EPK is an electronic press kit. It's got pictures, videos, your music, any quotes from articles that have, you know, any blogs that have already written about you. You're going to pull out the best quotes and put it in there. It's basically an electronic way of letting people know who you are. Um, and it's got to be professional. DJ Infamous is saying it was a long road for trouble. Yes, it was. Joseph Albertson's asking me what is the best way to promote or market a media website. I haven't done that, so I hate to— I hate to answer a question where I haven't actually done it before, you know. Um, I would suggest asking or finding articles on other media websites to see how they did it. I mean, marketing is marketing, right? You want to figure out who your target audience is and then reach out to them and let them know how you're better and different from your competition. But I don't know exactly how to do that because I've only ever marketed artists, rappers and pop artists. Um, Infamous, I think they settled that, um, that Rich Homie Quan lawsuit. The last time I asked Fly about it, they had reached a deal and they were, they were cool. I, I think that Quan was just upset because he wanted to sign to Baby and, um, Fly wouldn't do it. He felt that if they did a deal with Young Money that it might be a little challenging to get paid. I think that was really what was behind it because I know that Dude filed suit like right, right, right as he was going to radio, like right as he was going number one with his single, that's when he filed suit. But I think he was a little bit miffed, and I don't know because I'm not, you know, I'm not in the center of that. I've never asked Kwan what his issue was. I read all the paperwork on the lawsuit. I spoke to Fly about it, but I only got one side of the story. I didn't get both sides of the story, but I believe they settled that, and I'm gonna guess that they had the same deal, right? I, I don't know. You get what you negotiate. You don't get what's fair. You don't get what you deserve. You get what you negotiate. Oh, I like the way you said that. Okay, um, the EPK consists of the bio, photos, music videos, press, shows. It's an artist resume, um, basically. I actually don't put show information in there unless my artist has actually made money doing shows. Like, I never put in there, um, that we opened for, you know, Rich Homie Quan or Lucci, or I don't, I don't add that kind of stuff because you're expected to do that. Like, that's kind of basic. Um, but I do put in, like, right now Trouble is selling out shows in the 800 to 1,200, um, capacity venues. I put that in his, in his EPK, and that he's getting paid for shows. Greg Trouble has an investor. He's, he signed to his own company that he owns with the investor. He doesn't have a record deal. He didn't sign to a label. I— you're saying it's hard for an artist to build a career without proper financial backing. I will go a step step further and tell you that it's impossible for an artist to build a career without the proper financial backing. Not just financial backing, but proper financial backing. Snap City Vision is asking, where should the music videos be placed now, um, outside social media and WorldStar? Um, I actually don't put videos on WorldStar unless the artist has some renown, because I don't think people go to WorldStar to discover brand new rap artists. I think they go to WorldStar to watch bum fights and chicks slap each other. I'm not being funny, I'm dead serious. I just, I don't, I don't utilize WorldStar for new artists. I use them for an artist who's known. Like, every time Trouble drops, he's in the top box. On WorldStar. Predator Records is asking, who puts the money up? The record label. That's what a record label does. They finance and fund the careers of artists, and then they collect the money. J Harrell is starting an indie label based on positive images and community-driven, um, 1025 Music Group. Money is not our main objective. You are my new best friend, J. Harrell. That's awesome, I love you for that. Do a lot of, um, community giveback work, right? Like feed the homeless, and you'll really stand out. Markel Tucker is asking me what paperwork a producer should have besides a copyright being signed up with BMI or ASCAP and split sheets. Um, you need to have some sort of a licensing agreement with the artist who is on your song because you want to give them the right to market and promote your song as part of their— your beat as part of their song, right? So you have to give them the right to commercially release your track and to make it a single. It's called single rights. And you want to give them video rights too. I'm sorry, Todd, that's not true. I'm not even going to read that out loud. You know, that's one of the reasons that I started, um, doing these videos because there's so much misinformation out there. Like, there's so many people out there who talk about, like, how to get a record deal or how to get on a tour, and they've never done it. Like, they've never gotten an artist on a tour, they've never gotten somebody a deal. So they're, they're online, um, either on video or in writing talking about you know, what they know, and what they know isn't accurate. And, and guys, don't go— don't just go by me, right? Like, go out there and, and research everything. Like, go get more than just my opinion, right? Okay, Manjronk, that was funny. I love that you guys are all talking to each other. I think that's awesome. Well guys, I think that we've run out of questions, and thank you all for tuning in. I do this live every Wednesday night at 7 PM Eastern Standard Time. Um, normally you guys email me questions ahead so that I can make sure that I answer your questions. This week I didn't get one email with a question, which is very surprising. Um, but guys, thanks so much for tuning in. I'm gonna post this so it will, um, it will show up in about an hour or so. Um, Snap City is saying the video question. Um, other than, like I said, I wouldn't do WorldStar. I would hire a video promoter and I would let them work the record. Um, I, I answered that question a little bit earlier if you go back and you watch the replay. Um, it was probably somewhere within the first 30 minutes where somebody asked me about, um, videos. But I wouldn't, I wouldn't work a video on WorldStar, um, if I was an unknown artist. I would buy Facebook ads, I would buy YouTube ads, I would do Google AdWords to increase the, um, the, um, fan base for the video and the awareness for the bit, the video. Um, but go back and, and, and, um, and check that out. Predator Records is asking about credit. You mean, um, credits for producer or borrowing money to work your project? Joseph Albertson, you're very welcome. Todd, you're very welcome. Um, in terms of— let me answer both. Um, As a producer or an artist, your most important value is the credit because that's what's going to bring other people to you to purchase your music or features from you. Um, would I start a record label based on credit? No, I would go get an investor. I wouldn't, um, I wouldn't, I wouldn't use my own money to fund a label. The risk is really high, especially if you don't know what you're doing. The feed is going to show up in about an hour and it will be posted on my page. And, um, Greg, CDs don't sell anymore. Music is free right now. Um, Get Lifted Consulting, absolutely. Newsletters are huge for helping video numbers. Um, I've got a, um I've got a video that I did about collecting email addresses that talks about that, not just about videos, but about, about having the ability to reach your fans instead of always waiting for them to come to you. The great thing about a newsletter is it goes to them and they can open it in their convenience. Yo123789 is asking me, have I ever worked with Lola Plaku. I don't know who that is, um, so no, I haven't. Um, the only Lola that I've ever worked with is now in Pittsburgh, and, um, Sims is her last name. Lola Sims. She's awesome. She was actually on my staff, and I miss her so much. There are no words. J.R. Ewing is asking me, is ReverbNation viable? I've advertised there, and they claim to have many opportunities for artists. It seems competitive since they rank by region. Um, I don't use ReverbNation only because ReverbNation shouts amateur to me. When an artist sends me something on ReverbNation, I feel like he's not serious or she's not serious about her career. Um, ReverbNation just— and they do have— it's sad because they do have a lot of opportunities for, um, for artists, but, um I just, I don't know anybody that goes to ReverbNation to, to find music. Most of the fans that, that I seem to come across go to SoundCloud, Spotify, Apple Music. Yeah, they're, they're, they're the biggest places people go. And Point of View Media, if you need to learn more about Facebook ads, you absolutely should Google it. I did that a couple couple of months ago, and, um, I, I learned so much about Facebook ads. Like, you can really go down the rabbit hole with Facebook ads. Um, Tony places all of our Facebook ads. I kind of lean on him to do it, but I studied it because I wanted to understand how it works and the value of it. And you should definitely Educate yourself. Facebook ads and Google ads and YouTube ads, absolutely. JR Ewing thinks that ReverbNation is gimmicky because it's so saturated with paid advertisers. You know, I've just— I've never— JR, I've never done like, um, like research with fans where I, where I, you know, I do a lot of research with fans to find out how do they get their music and and, you know, where do they discover new artists? And not once, not one time, has somebody said to me ReverbNation. Not once in, in all the, the years I've been doing this. So, right, um, Todd, you shouldn't be— you shouldn't be using somebody else's beats anyway. You should have— as a professional, you absolutely should be You should absolutely have your own beats. You shouldn't be rapping over other people's beats. Okay guys, have a great night. This will repost in, like I said, within the next hour. Thanks for tuning in. I'll see you next week, Wednesday, 7 PM, and then I post videos every Monday, Wednesday, and Friday at 11 AM on a different topic. Okay guys, take care.