Producers: How To Sell Tracks | Interview With Rico Brooks

Hi guys, Wendy Day here. I have my friend Rico Brooks with me today, and I'm so happy to be doing this. And Rico, I gotta tell you, I have been telling them that you're gonna be here for like months, that I was gonna ask you to do this. Hey, I feel like I don't do enough for producers, you know, and, um, it's your strength. So man, I'm gonna ask you a shit ton of questions today.

Ask, ask, ask. Yay!

So everybody, this is Rico Brooks. Rico, how did you get into the music industry?

I actually started at, uh, at ground zero. I started music retail, you know, so I started working at, uh, yeah, yeah. I graduated, uh, from college. I graduated from Morehouse in '95, so now that just lets you know how old I am, uh, and then, um Started working in Greenbrier Peppermint Music. Shout out to Carl Harris, gave me a job over there, yep, at the Peppermint Music store. And then that's when I started in retail. And then I transitioned to management like in 2004. Okay. Yep, yep, yep. With Boyz n Tha Hood, yep.

I was gonna ask you that, yeah, who did you start managing?

Yep, Boyz n Tha Hood. Then I did Young Joc for 2 years. Shout out to Joc, Boyz n Tha Hood, and Gorilla Zoe. Shout out to Zoe.

Shout out to Zoe. I love Zoe. Zoe has a song called Battlefields that's just ridiculous.

Okay, got it. Wow.

And now you also manage producers, correct?

Correct. Yeah, I have some of my clients include, um, Metro Boomin, Southside, Sonny Digital, D.Rich, Bobby Johnson, XL. I mean, I have some other names that are not as notable but nonetheless dope. Yep.

Good.

Okay.

And then you also, um, you have a publishing company and you manage other talent as well, correct? Yeah, I just found out about you today.

Yeah, yeah. Uh, at, uh, at Cobalt, I have a deal over there. Shout out to Admin Deals. And then, um, I have a couple of writers signed to me, like, um, Bobby Johnson and, and, um, a couple other guys that are really dope, you know. D-Rich, I do his, uh, admin Yep, that's awesome.

Okay, so what does a— I'm gonna, I'm gonna focus on the producer-manager side because I really, I really want to help the ton of producers that watch my videos. So what does a producer-manager do?

Well, basically, we, we start, we help our guys like try to get placements. We try to put them in situations where they could be successful. Successful. We make sure their business is set up and we have them get paid, or we try to help them get paid. Um, and we just kind of like help them brand themselves overall. That's, that's my day-to-day is like, and then I just try to get them to see the bigger picture, let them know that it's more than just making beats and it's more than just sending an email. Like, yeah, yeah, yeah, way more.

It's, it's, it's long-term vision as opposed to short-term. Vision.

Exactly, exactly. No, it's definitely, you know, try to align with their goals and let them know like, hey, look, these are basically like what you're doing now. You're building foundation. If you do it right, you can, um, like basically be getting paid off this for the rest of your life, you know what I'm saying?

You can. Yeah. And, and your children's children if you do it right. Amen. And your children's children's children.

Yep.

Thank God for copyrights.

Yes, ma'am.

Absolutely. I know that every producer watching this wants me to ask you one question, so I'm going to ask you right up front. How do guys place tracks?

There's various ways. One way is you can just send an email. Like, some of my guys— there's this thing I call the proximity of advantage. I mean, the proximity of— I mean, the advantage of location and proximity. The advantage of proximity. So basically, you like, in Atlanta, a lot of guys get lazy because, um, they're like, I'm in Atlanta, I can come whenever I want to come. But say for example, Bobby Johnson, this kid lives in Germany, Bremen, Germany, um, and, uh, he didn't have the advantage of being able to live in Atlanta, but he had a mean email game, right? So Q was looking for beats, and Q, he said Q beat, and it ended up being OG Bobby Johnson, the beat., and the song. So that started off his career, and then we were like, okay, cool, let's sign him up, let's get him going. And then next thing you know, um, he sent a beat to Detail, which became the underlying composition for 7-Eleven, you know, Beyoncé's record. And so he was like, what he do since he can't be everywhere, he just emails everything. And I would tell up-and-coming producers, your beats do you no good on your computer, so get them out there. I'm saying, if you have a good team behind you a good lawyer and everything, you will be good. So your beats do you no good on your computer. Get them out there. Make sure you have a lawyer and manager in place, and we will make sure everything else is taken care of. Don't worry about people stealing your stuff. That could be the best thing to happen for you. If one of these big-name producers or artists take your music, especially if you have everything lined up, you're gonna be good.

Right. Do you copyright the music before you send it out?

No, I don't, um, but I have like with Cobalt, they do that like and they'll just take it out, um, they'll just take it out like, um, like I'll just see these little minus because they just do like several like at a time. So what they'll do is once I send them the information, they'll just send it in and they'll handle all that for me.

So you don't worry about copyrights when you shop beats?

No, I don't, not me personally, because we have first of all we have the stems, you know, and then we have like the email so I've never had a problem where people stole something, you know, and we didn't get it back. If we— if once we like let it be known, hey, look, this is like gonna be an issue, they like— they're like, okay, cool, let's fix it real quick, right? So those are the least of my worries, is like somebody taking my beats or remaking my guys' beats, because they, they still don't have those original files. And then if we do, then we know we got music colleges, we have lawyers, we have litigators, all those guys in place.

Gotcha.

If you want to go, you know, right? And obviously I'm just sending beats to like up-and-up people, like A&R, directly to the artists, the managers. I'm not just sending them to like, um, like other producers, which— because sometimes it could get a little weird when you send it to another producer, right? If that producer's not on the up-and-up, they could be like, just give it to me and I got it from here, and then they don't really take care of you, right?

Or they steal it.

Yeah.

Gotcha, gotcha. So how— what is the best way in today's industry to build a producer's career? And I'm talking about somebody who's brand new, because most of the folks watching this are new or close to new.

I say there are a couple of things you need to do. You should be like very passionate, you know, you got to get up every day and this has to drive and this has to be the thing that you live for, you know, like When Kobe played, you know, that's all he lived for was basketball. Like, you're in music, that's all you gotta live for is music, you know, making beats. Like, get yourself on a regimen. You have to be like hard workers. You can't just be talented because talent is overrated in the sense that— but talent is the basis, but you gotta work hard too. You have to have, have to have a good work ethic. So if you're like, if you're talented but you're lazy, you're probably going to get beat by someone who's less talented, just a little less talented. But work twice as hard as you. Twice as hard as you. You have to have a good networking and relationship game. So a lot of this stuff is just like networking and relationship. I see how Metro would get on the phone with you name it, who's who, and he'll make those calls and he'll make those text messages. Well, what if you're not a Metro Boomer? But you got to start somewhere. Everybody wants to chase the future. I had a producer tell me like, hey man, I want to be on T.I.'s album. I'm like, get in line. Who doesn't want to be on T.I.'s album, you know? So I'm like, how about you get with the next T.I. and let you guys come up together? So like, if you came up like Toomp and T.I. came up, you didn't have to worry about being on the record because you were there from the beginning. The same thing, like, say like Jeezy and Shorty Red, they started together. You see what I'm saying? Like Mike Will and some of these other guys, they start together. Like Metro and Thug, they came up together. So you see a parallel ascendance, you know? So don't always look at like, oh, I gotta be on the big guys out. I'm like, the great thing about being in this industry and being in a city like Atlanta is there's always the next guy. Like, say for example, you know, my baby's kicking butt right now, and you got guys like Joe Gift, and then there's always another one coming out of Atlanta. So identify talent and try to, um, like partner with those guys or get beats to those guys because, you know, everybody's running after who's hot right now, but who's next, you know?

Right. Should they spend time building relationships with A&R guys at labels? Yeah. Should they go right to the artists or both?

I think there should be— they should do both. Like, they should— if you have a relationship with the A&R, because sometimes the artist may not know the exact direction, or they may have an idea, but are they— some artists have the idea all together and they're like, let's say for example, if you, if you're trying to get Beats Da Future, you probably shouldn't send them to an A&R because they won't probably be allowed in the session. Right, but if it's someone, you know, they're more structured and they're more like, hey, look, this is the idea I have, these are the direction he wants to go, and they can kind of help you, uh, maybe in some ways that the artist may not be able to explain. Yeah, so I say both. You should have great relationships with the artist, and you should also have great relationship with A&R, because what happens is sometimes you may send a beat for artist A, but he may say, nah, this doesn't work for this artist, but it works for that artist. You see I'm saying, so don't, you never, and then never underestimate the power of like just an initial relationship. There have been times where some guys came to the studio to work with a smaller artist, but then the A&R liked their vibe and their work ethic and their music, and they were like, you know what, I brought you in for this artist, but I have something else. Can we use this for this?

And we were like, heck yeah, you know? You know? Yeah. Absolutely. And how, how important is it for a producer to keep their publishing when they're doing a song? If they do land something like with a bigger artist, it's important.

It's very important to partner like with the, with the company or someone that can collect for you, or at least register the songs and like license the song so you can get paid. You know, a lot of people don't know that just from the inception when you do a track, When you do a record with someone, you know, you're a co-owner of that track, of that record. If you do nothing alone, as long as you don't sign off on no rights, giving them away. But then once you get this song placed, then you have to license it, and then you have to find out how that money is going to come in. So you have to like register the songs. If you don't have a manager or publisher who can register those songs with BMI, then you have to, uh, if you have a publisher, then they'll do some of that, they'll do some of that legwork for you. And there, a lot of people don't know that there's more than one type of publishing deal. You know, you have like You have the single song deal, you have the admin deal, and then you have the co-publishing deal. And then you also had a full publishing deal, which no, I rarely see people do. But there are different types of deals out there that can help you get paid so you don't have to just give, give up all your rights just from the beginning, right? You know, right.

I love admin deals. I'm a big fan of—

yeah, me too. Admin means you betting on yourself. Like, like, you, if you already have relationships and you already have like, uh, connections and you're already rolling, you may be like Hey, look, I really don't need you to take half of my copyright and take half the money just to collect my money. Then you may say, hey, look, let's just do an admin. But if you're a new guy, you may be like, I really need to get in the game for a minute and I need to go hard. Like some companies, they don't do admin deals. So they'll be like, well, if you do this co-pub deal, then I get you more syncs, which I get both sides of it. But it just depends on your level and it depends on your financial situation. I've had producers that came to me, they're like, look, Rico, I stand with my mom, you know, I don't have a car, you know, I need my own place, I got a baby. Yeah, so all these things play into which type of deal you need to do, you know, and then you bet on yourself based on that, you know. If I bet— if I were to bet on myself, it would be admin because I know I have relationship connection, I know people like Wendy Day, and we can make stuff happen, you know. Right, right.

I think, I think that, um, I see publishing deals as if you give up half of your copyright, you're betting that you're going to lose because you're betting the money that they're giving you as the advance is more than what you're ever going to make. So I, I see it in a very skewed, um, you know, cynical way. I love admin deals because you can— for 10%, they'll collect all your money for you.

Exactly, exactly. You know, you need somebody to collect. Yeah, you need that, you know. You know, you still own the copyright, and a lot of times people don't even know what they're signing off on. I've been in deals where some of my clients, for example, they do these deals but then they don't even know what they like. They call me, hey man, my song was in a commercial, it was in this stuff. Like, that's not a good relationship. So like, you want to be able to keep the rights because you may be against like certain products or certain themes. You'll be like, I don't want my music used in certain themes. So that means that you need to have those rights Like, even if you do certain deals, you still should retain certain rights. I agree. Sign off on them, you know. Exactly. Yep.

I had a friend once who's a rapper who did a pub deal, and one of his songs ended up in gay porn. I won't— I don't know how he found out, but his music ended up in gay porn. And he's like, he called me and he's like, yo, I gotta stop this, it's gonna kill my brand, you know. And you can't because you don't have it in the contract. Stating that, you know, that can't happen. So yeah, real story, real fucked up story, but real story.

Yeah. Wow. So should it—

should a new producer work with everyone that they can, or should they work with one artist to build a sound, or should they be super exclusive?

I say this, uh, your beats do you no good on your computer. On the way up, do everything you can. Once you get to the top, become very selective. Look at your career like a mountain., you know, like, uh, like a mountain. So at the bottom, you know, it's very wide, you know what I'm saying? But as you go up the mountain, as you look at the mountain, as you go up the pyramid, it gets very smaller, you know what I'm saying? So it gets very small. So you could be more selective the higher you go up. But, uh, in the initial phases, my opinion is like, make a lot of goodwill, just get your stuff out there and do everything you can and get it out there. And then once you get to a certain level, you can be a little more selective. Now Uh, not to say that you just should do anything and everything, because like, if you just say, look, I only make this type of music, I'm not doing no corny whatever pop stuff or whatever they may call it, you may like— I don't like that type of music. So not to say just sell your soul, because you still should be a person and be a human being. So have a— have some backbone. And so don't just take every check that's thrown to you, you know, because like, some integrity— integrity still matters, believe it or not. Yes, it does. So, uh, with that being said though, you know, if it's— just look at this, ask your question: will this help or hurt my career? It's going to benefit me or is it going to hurt me long term and short term? You know, some things— some people just say, I just want a short-term dollar. I know this is not going to benefit me long term, which I'm always looking for the— looking for— looking long and say, look, we're building, right? And when you're building a house, go that way, it's one at a time. You know, it's not just like When you're building a house, it's one brick at a time. It's not just you come there and it's always done, right? So you put one, one block at a time, right?

And you start with the foundation and you go up from there. And that foundation has to be strong or the whole house will tumble down. Amen. Absolutely. Um, a lot of artists ask me when they're starting out, um, how to get paid, because when they're giving away their beats for free, they're not able to get some artists that are also struggling to pay for their beats. Do you have any input about how someone can start to make money in this business? Yeah, there's different ways.

Like when you first getting started, you could be like, say, how do I get paid? So you get paid by, um, where the record has to be making some money. But say if they can't afford to do, to pay for like, uh, say for example they can't afford to pay $1,000 as a startup artist and say, hey, maybe do $500 or do $200, you know, just do something. Like, give me something. Like, you can't just— what I've seen to happen, what I've seen happen in the music business is like artists, they're coming up and they get these records from producers.

Oh, Rico, you froze. Can you hear me now? There you are, you're back again. I can hear you but I can't see you.

Oh man.

Oh, there you are. You're back.

Okay, cool. Yeah, so from Record One, they're like doing shows, you know, so like the producers home broke but doing shows. On those records that they created, right? So I would say, look, if you're a producer, hey, can you DJ? Maybe get out there, the artist, can you, can you like DJ and beat up— hey, look, oh, you're making $2,200 a night, be your DJ and spending— because so you just got to find a way to like and say, hey, look, I can't pay for the I can do that, or I can't do this for you, but I'll give you this maybe. I'll give you this beat and you give me a verse on one of my records. It could just be the producer featuring the artist, but it's really— You just gotta be creative with your imagination on ways to try to get paid. What I don't like to do is like producers ask for money up front when really they're just building a story, and if it gets to a certain point, then they can actually cash in with like a feature with like, if it's an admin deal or a pub deal, or they can get advances. But if you sell the beat for $200 just because you were just so rushing to get some money, and then the record blows up, excuse me, and a major comes in and picks it up, and you say, well, hey, you could still put it in the contract, hey, look, I'll sell you the beat for $200 now, but if a major picks it up, I want $5,000 or $7,500 or $10,000. But most people don't think like that. They'll just say, I just need this quick money, and then they'll sell the beat for a couple hundred dollars. And now the song blows up and they're like, they're mad at the producer or the production company because they sold it for a couple hundred dollars. But you should honor your word. As long as you keep your, your rights, you still get paid. But, you know, I see it both ways, you know.

Are you able to, um, resell a beat? Like, if I sell a— if you sell a beat to me and I don't blow up, can you then take that beat and sell it to somebody else?

Yeah, as long as you do like— uh, would they have to be things like a lease agreement where you don't own the beat, but you can like, um, you can use the beat for a certain amount of time, and then the— but you don't have the rights. They're basically like— it's basically like, um, it's basically like you go to a tuxedo shop and you get a tuxedo. It's probably a bad analogy, but no, it's great enough. You can take it, you wear it to the wedding, but you don't own that tuxedo. You gotta turn it in Monday, you know, for pictures. And then, hey, hey, hey, Monday morning, hey man, where's that tuxedo? You know, you know, it's not yours. Or you can buy the tuxedo and be like, hey, look, I got it, you know, I only wear it once a year, or I only wore it to this one wedding, but hey, you don't own it. I always tell people that just because you go— I go into high fashion shops all the time, they don't make— I don't own those clothes. Just because you rap over a beat, if you haven't purchased the beat, you don't own it.

Right, right. Cool. Okay. And my last question for you is, how do you choose a manager if you're a producer and you, and you, you're not great at chopping your own beats and you want somebody else to do it for you? How do you know who to choose?

What should you look for? I would say there are several things you should look for in a prospective manager. Um, one is passion. You need someone who's passionate about your music. Um, so someone who's gonna wake up and go hard. They should not believe in you more than believe in yourself, but sometimes they end up— that's end up happening in my case where like I believed in the producer, and that's never a good feeling because you're like, man, I'm going harder for this than he is, he or she is, you know, right? You need someone with relationships and connections, you know, because You need someone who can call a Wendy Day or someone who can call an administrator, a publisher, a lawyer, or like they can call, say for example, when Sonny first started, I had a relationship with 2 Chainz from my Young Joc days. So I called 2 Chainz, like I got a new producer I'm working with and I want you to meet him. So that led to a birthday song, you know, just based on my relationship.

Right, just based on your relationship.

Someone who has, yeah, access to, um, finances. Not that the manager should be financing your career, especially in the early stages, but a lot of times the manager is. Say, for example, uh, you have an opportunity to work with a certain artist, but that artist may not have studio available. So does the manager say, forget it, we don't have money? Does he say, hey, look, I'll put up for the studio tonight I've done that. Or even a flight, they're like, look, I can't get you— I can't fly you to LA to work with Wiz, but if you get out here, I can get you in the studio with him. So guess what? The manager sometimes is putting up his credit card. So you should have someone who has access to finances, you know. You should look for someone who has leadership ability, leadership skills. So, so basically what that means is like your manager shouldn't be out there like trying to holler at girls with you, trying to get drunk with you, do drugs. You shouldn't be doing that stuff anyway, but If someone has to be like not high when the police pull you over and say, excuse me, officer, uh, yeah, I'm driving, I'm not drunk. I know you smell something funny in the back, but you know, we put it out, you know, there's nothing going on. Can we just get out of the city here alive, you know? Right. Let me take you. Yeah, you're right, you haven't been drinking, so let's go. You guys are good, get out of here, don't come back again. Um, you need someone who's likable. What I've noticed that when I like people, when people like people, they tend to do things for them that they wouldn't do. I had a friend who worked in the music business and he had a client that was always busting his balls on everything. So one day a big concert came in town. It was like Anita Baker concert. And the guy came to him and said, man, my wife really loves Anita Baker. Can you get me tickets? And he had access to tickets. Tickets because he worked for that label. And so he said, I'll look into it. And so he hung up the phone and he said, man, I ain't doing nothing for that job, Turkey. He always bust my balls, you know. But the right— this is what I noticed. If the right person call, it's never the wrong time. But some people, if the wrong person call, it's never the right time, you know. And I've been in bed sleepy and the right girl call and she's like, you sleepy? I'm like, nah, it's just 4 AM. I was just laying here thinking about you, you know. Yeah, so if the right person calls, it's— yeah, so you want to be like— not saying that you want to be just like a pushover, a butt kisser, but you want generally to be nice. It costs nothing extra to be nice, you know what I'm saying? Exactly. So you want to be likable, and you want someone who has vision, you know, someone who can just not only see you for where you are but see— but see you where you want to— where you want to be in 3, 5 years, you know. So my vision for a lot of guys, because the producers— I saw the game wasn't going right. So what I started saying, look, just because you produce these records, but you should start DJing too. Don't wait till like your career is over to say, oh, I want to DJ now. Like, you're hot right now, so let's start DJing now. So let's turn the music industry on its head in the sense of you don't have to just wait for the artists who did these songs to go out there to perform, and you can go perform it too because technically you own half of these songs that you're— that you're— that, um, that are out there. So you can go start DJing and performing these songs too. So, and then you can also like, you can expand that brand. And plus that's another op, that's another check and it keeps you floating until that next producer advance, the next royalty checks come. So like DJ money can be nice, you know?

Yeah. And it keeps you really relevant 'cause you can test music.

You can see what's hot. Exactly, build your brand. So like I just started saying, there's no limit on the creativity. So if you use your imagination, you can get real creative, like, and just start coming up with different little things. Like, wow, why did— why, why didn't I think of that? Or why did— you know, and I'm not, I'm not just an oasis for, like, ideas, but I just start— sometimes I just think outside the box because I even feel like sometimes managers get boxed out, you know? Like, there's no pension fund for managers, you know? Like, no. Oh, like, early on, like, when, um, when managers— when, uh, when, when one of my clients did a pub, did it like, yeah, managers don't get no advances on the publishing. But then I thought about it, I was like, but I'm out here every night advancing these songs. Like, it doesn't make sense, like, philosophical to me, because if we have to go from club to club to build these songs up to get them to value to where a publisher would even care about them, why don't I see, uh, any reciprocal value once that happens? You know, once we get it to a point, why should— why should Warner Music or Sony ATV or whoever come in and say, oh, appreciate you, Rico, but Thanks for everything. Yeah, yeah. I'm like, that picture is— and just because someone says, and just because the model and paradigm is there doesn't mean we can't change it on its head. You see what I'm saying? Who said that's the way it's supposed to be because we all sat down and agreed on it? But what if we sit down and say, look, we don't want to do it like this no more? You see what I'm saying? Like, I personally feel like the way the music business is set up right now is not beneficial for the producers or even the songwriters in a sense. So So we want to change that on it, or we want to move that. Want to make the— now we're trying to do like make the artist, make the producer. I know it's nothing new, but make the producer the artist. You see what I'm saying? Like, exactly. Why can't this producer have his own record featuring the artist? So why can't he be out front? Why does he have to be in the background and no one knows, you know?

Exactly, exactly. I think that's the amazing thing with what you've done is you really haven't just created careers for producers, you've built brands. Like Metro Boomin is a brand, Southside is a brand, Sonny is a brand. Like, you have— you've got such a foresightful way of thinking, and you always have, but you've really built like their whole livelihood. It's really amazing.

Thanks. I think it starts with the talent, and I want to give my guys a lot of credit too, because, you know, they are very— they have a lot of input in what they want to do too. But I definitely appreciate it, you know. I just want to be like a, like a, like a vessel to help them get to where they're trying to go.

Right, right. Yep. Right. You've also got really, really loyal producers. And even though I said that was my last question, it made me think of another question and I'm sorry. But how important is loyalty between a manager and an artist, whether it's a producer or an artist?

Yeah, it's very, it's very important. What I learned though, early in this business, that loyalty and ambition don't always go hand in hand, you know. And some people are loyal and they, and they love you and they like you, but they're like, hey, look, I'm trying to get to the top, and if you can only get me to first base, then I love you, Rico, but hey, I'm going with this, this guy, you know. So I think it's, um, a lot of it is trust and a lot of it built over time. But I always— I never get comfortable, so I'm always like trying to invent and reinvent myself. I'm always reading I'm always making connections and relationships to say, hey, look, what do you think about this? And what do you think about this? To say, to say, hey, look, Mike, if you work with me, this is what I tell— I'm an equal opportunity manager. So if you work with me, your beats— if you have a problem with competition, you're probably not the right— I'm probably not the right guy for you because your beats is going to be going up against Kanye, Dre, whoever, whoever's out there, Mike Will, because you're going to have a chance. So don't— you can't say you don't have a chance. But if you get in the room and you're like— and they go like, man, your beats are not it, um, then that might— that makes some people uncomfortable because they're like— they realize, holy shit, I'm on— like, you're in the NBA now, brother, you know what I'm saying? So if you're not ready to step on the court with LeBron, you might get dunked on. So be careful what you pray for, you know, what you ask for, because God might give it to you, you know? Absolutely.

Yeah, that's real. Rico, thank you so much for doing this. Is there anything that I should have asked you that I didn't that could be helpful to a young producer?

Mm, nah, just get out there, work hard, man. Don't— like, if you believe in something, if you know you're dope, don't let no one tell you not. What I've found out is follow that, like, that gut instinct. If there's an artist that you really like or believe in, just reach out to them. You'll be surprised how receptive some people are. Some people are buttholes, but Don't let that stop you, you know what I'm saying? Just keep it going, just keep it going, just keep it going. Just keep your head up and keep it going, keep it going. Don't let one thing stop you. It may not be this year, it may not be next year, it may be the year after, but some people just keep going. If you know you're dope, just keep going because it's gonna come to you.

Absolutely. Rico, thank you for doing this. You've been awesome. Thank you, Wendy. I appreciate you so much.

All right, take care. Okay, honey, talk to you soon. Bye-bye. Bye.