S3 E324: What Does Legacy Mean To You? | FYM
Worldwide Ty and Yo Y examine legacy as a business plan for estates. Ty argues culture should function as an investment vehicle that preserves Black and Brown IP and creates community equity, using his partnership with Brent and Lost Kids as an example: $35K seed funding grew to a combined valuation of $127M by 2025.
Chapters
We ain't part of the American dream. It's a new one. You know what I'm saying? And that new one is culture. It's, can we use our leverage? You know? Can we use our leverage to teach us real equity?
And we're back with another episode of FYM with Tyo. My, my man Ty. I'm Yo Y. And this is our 24th episode for our third season. This is our finale episode. And how you feeling, Ty?
Feeling good?
Feeling good. It's great.
2025.
Yes, sir. We're in 2026 now. Y January. What were you thinking about this episode? Because obviously, it's a new year, but it's our end of our season. So when you think, like, finale, what comes to mind?
Exit.
Exit.
Right, right, right. Exit out of one season to the.
Next to the next season. Yes, sir.
It's one of those things that are very interesting from a standpoint of. From a standpoint of, like, I mean, if you look at it from a biblical perspective, you have certain seasons in your life. We look at it from a business perspective. You have certain quarters and certain seasons of your life. Right. You look at it from a creative perspective. You go through certain seasons, certain eras. Right, right. And so in 2025, I felt like that was a huge, like, calling card for me where legacy was really, really, really something that stood out and became more of a. Of a standing word in my vocabulary.
Why is that?
Well, the thought process of.
Of.
Selling businesses, the thought process of setting up trust, the thought process of having to sit down and really plan out your estate, like, all of the things that historically has been done by other races of people and black people. We talk about legacy, but there's not always the opportunity, in a very clear way, with an experienced team to kind of put it in action. Right.
Legacy as action is something that, I don't know has ever been phrased that way. To me, it's always been like a theme, a concept, an idea. Right. You should be considering your legacy and the importance of legacy. But what is it?
Right.
But what does it really mean to make it actionable, to leave a legacy behind?
Right.
I remember when Kobe Bryant died and people were having conversations about his legacy, and obviously his legacy in basketball had been solidified because he had retired.
Right.
But his legacy after the sport, this seemed like a huge question mark because he wasn't here to, like, see it through. So, like, what does that look like for you?
I think the things that you're speaking on, you're saying, like, legacy has been presented As a theme or a concept or a last name. Yeah, right.
Like a brand, almost.
Yeah, like the brand of a family or a brand of a thing. Like a legacy brand in the, you know, Levi or something.
Yeah, like it's a legacy. Exactly.
But truthfully, the. The word and the action and the underlining concept and theme of it is really, it's the business plan for your estate. You know what I'm saying? Because that's where you're really building off of these different things. You want to take the things that you did over a span of 10 years, and you want to elongate it for 100 years, you know, and the only way you're going to do that is through planning. And the. The legacy of Tupac, for instance. Right. It came from all of his careful planning with the music. And then after that passing, the estate, kept accessing and moving those different things.
Right?
Yeah, Same thing with, like, you know, the Rockefellers. Yeah, right. Or the Rothschilds. Right. Or even you want to go and you want to speak from a standpoint of the Quincy Jones, his legacy and with his daughter, what his family is doing, or Denzel Washington, his legacy, what his family is doing. Right. Or the Dylan family and what his. What their family is doing through. And so these things are built around the different business plans and the different ideologies and the different cultures. Right. You have the. Is. Why is the name slipping me? Junior. Junior. It'll come back. It'll come to me. But there's a few black families that have had businesses that converted into other businesses, and then they started building a family office and they start building out. Their. Their legacy started to grow. Rather it was like locally and it expanded out or it was something that was a national thing. And then they got located certain places. Right. Like for Prince, like, Paisley park is a part of his legacy plan to go and always be remembered and always be. People fly from all over the world to go see the world that Prince built.
Right.
I think that just overall, for me, it was just very loud in 2025.
But do you imagine, like, a Paisley park for culture? Is that like an idea of, like, having something like a Disney World where people can go and, like, experience the things you've created? Or is it the businesses that. How do you imagine it?
How I imagine it is to be, you know, like a cultural blackrock? Right. Or a cultural. Birthday. I forgot the first name of Warren Buffett's company, Hathrich Birthaway or something like that. I can't remember exactly, but I see it as A. A company that is reinvesting and investing into entertainment, focusing on, like, music, sports and media.
Music, sports and media.
And. And. And really, truly going into that. And what is the tech element in music, sports and media? What is the real estate element in music, sports and media? What is the, you know, the AI component in music, sports and media? You know, what is the renewable energy component in music, sports and media? You know, it's like all of the different underlining technologies and underlining just ideologies about what the future of these different sectors look like is important. And so that's how I see culture holdings as a hub of investments into culture and, like, continuing to expand and build out on that.
Something you touch on in the culture Play with Volume two. Is the name culture and how the acronym came to you, right? How important was it to have something that was yours and something that you can say, I can have this and build this for the rest of my life versus just being a part of someone else's, right?
So when I thought when culture hit me, something that God gave me conceptually, and I didn't think about legacy at that particular time, what I was thinking about was, hey, man, everybody got all these cool names that they kind of like, working on. You got, like, you know, QC or you got TDE or you got. Or you got Macro, or all of these. These really cool black companies. My proximity with. With Ryan, and so I was like, man, if I'm going to be an entrepreneur for the rest of my life, I don't want to be a serial entrepreneur that's just doing all these different things. I want to really line in and build a brand. And so. And I want to build that brand that I can literally work for, work on the behalf of. And then when I step in the room, it is culture, a representation of culture 100% right? And literally, without even realizing it, during that time frame, it is a part of my business plan. You know what I'm saying? The legacy is a part of that, right? It's a part of the business plan for my estate, you know? And so the legacy of culture is what I'm hoping to build is meant to be the ongoing plan of action on how I want my estate to be ran, right? When we say, can our leverage teach us real equity? That's my American dream, you know what I'm saying? So I'm thinking all of the people that look like me, the brown and the black people that look like me, that struggled and suffered through all of these centuries of, like, injustice or systematic Oppression and all of those different aspects of it. I'm like, yeah, we ain't part of the American dream. It's a new one. You know what I'm saying? And that new one is culture, is can we use our leverage? You know, can we use our leverage to teach us real equity, right? And it's the thought process of all of it, you know what I'm saying? And when we come together as a community, which is the most important part, when that U was turned into a O, and it's that O is for our right, it's not a singular action. So when I think about culture, I think about us, I think about a community. I think about how do we leverage our cool to be. To have equity in a company that want to use our cool, right? How do we leverage our creativity to be able to grow and flip something in all of those different things, you know what I'm saying? And so one of the things that, you know, people will learn or they probably have already learned is that in 2015, I did an official type of partnership with Brent, right? Where for about nine months, meeting him in August 2014. Then for like, nine months, I was just helping him putting out songs, helping him get blog posts. And I remember telling him, like, hey, man, we can kind of go a little bit further with this, but there needs to be some paperwork in place that we can underline what our agreement looks like. And that being the case, I can put some more. I can actually invest some money into it if there's a paperwork that protects both people. And we. And we. We officially started Lost Kids from a paperwork perspective, right? This is the contract. And then I started funding everything out of my pocket, like traveling, all of these different things. That following year. We did a publishing deal in 2016. And that publishing deal, when the lawyer got paid, when management got paid, when the artists got put on their budget on how they need to live for the next two years, there was about a little bit around $35,000 left. And that $35,000 is really what we used to continue to launch Brett's career. And so I learned at the pretty much the beginning of 2025 that the three businesses that I built around Brent, when all put together, was valued at about $127 million. So we're like, man, $35 million. I mean, $35,000 in 2000, 2016, by the beginning of 2025, right? This business is valued at 127 million. And, you know, a good one of those businesses was sold, right? One of those businesses was sold. And that was just a beginning of me understanding what legacy really meant. Because now you got this lump sum of money that you have to really, like, look at completely different versus getting a record deal, versus getting a touring deal.
Right?
Like, this is. You're exiting out of something that you've been building less than 10 years for huge amount of money. Now you got to figure out, what do I do with that? Because you can't go and like buy Rolexes. And I mean, you can do whatever the fuck you want to do. Right? But if you're gonna. If you got a legacy that you're trying to build, that means that your business plan is informing you where you need to put these different things, how you need to position it, what kind of philanthropy work you're gonna do, because that's a part of your legacy. And so when, when, when culture was like, envisioned, I'm finally getting to the place where I'm like, oh, this is what it was. Like, this is, this is. It's so clear now because it was never about one artist. It was always about a community of people that could drive one product, whatever that product is. Right.
So yeah, I mean, at what point though? Okay, let's rewind. When you started working with Brent, did you think that this is gonna be my chance to help somebody and also help me understand where my path is moving forward?
When you first started, you're a manager, you just trying to not get fired and make money.
Yeah, right.
And have a hot artist.
Yeah.
I think a lot of young managers, when I say young, not by age, it's by being young in the business.
Right.
I don't think they have a plan after the artists get hot.
Yeah, that's kind of hard. Right?
You know what I'm saying?
The getting hot part is so almost like far fetched that like, if it happens, amazing, but like, you don't really know what comes after it.
Yeah, yeah. When you. So, so you gotta understand that when you break an artist in the music business, from a manager's perspective, you're like a unicorn. Right? Like, because there are millions of artists in the world. Millions annually. Yeah, Right. So if you are managing a artist that ends up breaking through, that's selling multiple platinum, selling tickets globally, growing. Right. You, you're a unicorn. Right. And pretty much, I'll say 90% of the artists that has been broken on any type of national level, any type of global exposure, like, we sold 17, we sold in the beginning of 2024 in Australia, we sold 12,000 tickets. In Sydney and almost 10,000 tickets in Malvern. That's on the other side of the world.
Absolutely.
Right. And so when you start looking at that, you realize like, breaking an artist is a unicorn. Right?
Now.
I wasn't thinking about this as it was happening. Right. But I broke an artist without using the major label system. Right, Right. So.
Which is like a double unicorn.
I don't even know what to call it. But I still, you know, to this day would be, you know, walking around just living a regular life, thinking like just some normal shit and not really understanding how the music business view me, right. From that perspective, because I was just working. I wasn't thinking about. I'm trying to be a unicorn. You know what I mean? So from a standpoint of it, like, you know, building a legacy is like a unicorn. You know, it's a lot of people that worked in the music business, a lot of managers, a lot of record labels, they gone and came, came and gone. A lot of athletes, a lot of people. And so it's very rare to leave a mark in a generation the way that we did before. I decided to exit out of the business and start diversifying and getting into a lot of more other things. And if. If I'm blessed enough to break another artist that's bigger than that now, I'm, you know, that's why love it or hate it, Right. Cause I can't really just tell you, like, I'm just. I respect it. Right. I respect Scooter Brauns because he has his trajectory. He's broken so many artists.
Yeah.
And so you can see the difference between, with you, a manager that is a part of breaking three or four different artists careers, Right. And what you can pull out of it versus if you just a manager that's probably working at a management company that got one or two artists that's doing really, really well.
Right?
Right. But when you're the face of it and they look at you and you're. And you have business savviness. Right. But this is how crazy it is. Right? And Char Carter is. Is in that same conversation because of not only how many artists that he broke, which breaking Gaga is like worth 20 artists, right. Not really worth 500 artists. Right. But being alone, the ride on other artists. We're not talking about Eve because they really broke Eve early in those years, but we're talking about like the John Legends of the World and the Meghan Trainers and being alone on a journey and helping them get to another level after they've broken.
Right.
That's a skill set right where now you've hit the clip, now you got a younger manager that don't really know where to go left. Like, that's where I'm sitting at now in my life, where I might not be looking for the new artist to break. I'm looking for the artist that's already broken through on the first layer. Right now they need that guidance where they're trying to elevate and get to another place. And so for me to come in alongside their current managers, because I don't believe in, like, just cutting people out unless they just come to me with no management. If they have a manager and they want that manager involved, I'm, like, trying to figure it out. Like, how do we figure it out to work together across the board. So now I'm starting to realize that my legacy from a management perspective is to just sit at a certain point and be like, I have the information. Do this. Move this around. No, no, no. You need to think about it differently and really be able to help them architect that landscape that they've already. The soil that's already there that's already going to start growing. Now they're trying to figure out where to put the building, how high should the building be, you know what I'm saying? And all of those different elements.
So, I mean, I think it's so fascinating because one, to your earlier point about once you get an artist hot, you don't really know what to do next. Or you can't really imagine, like, okay, once this art gets hot, then we're going to do this, then we're going to do that. Like, you can kind of conceptualize it, but until the ball is rolling, will you actually be able to know what to do? I feel like for you, though, Ty, when did you start realizing as a young adult, though, what legacy was?
I think the closest thing for me to understand that was my grandfather.
Yeah.
Like, the things that he attempted to do, he just didn't have the support to, like, close the loop. Because at the time, the family.
Wasn'T.
I guess, equipped to understand exactly what, when, and how you took a very, very unique batch and group of people to build legacy. And that ain't always consistent of all your family members, to be honest. You know what I'm saying?
I read a story recently that's been on my mind about a painter from the 1800s named Alex Kellogg. She was, like an impressionist painter. She went to school in Chicago. She studied in France, and she taught at, like, the institution she died at 47. And her paintings and drawings went to her favorite nephew. When he died, they weren't able to. Her family wasn't able to keep up with the studio. So everything went into an estate sale. Supposedly, the way the story is told, this couple had a dream that God told them. Go to the estate sale, buy all the paintings. So they get up, they go to the estate sale. The paintings were being sold for 35 cent each. They had $300 in their bank account. They cleared their account, bought all the paintings. Ten years later, two art dealers come into their store, see one of the paintings, and recognizes how talented this. They were like, yo, who painted this? They were like, oh, we got more at the house. They go to their house. They're like, we'll give you $15,000 for everything. They're like, nah, God told us to buy these paintings. We want to see this person's name come back to life. So we'll give it to you on consignment, and we'll work it together. So they put all the paintings and frames, they cleaned everything up, got, like, publications writing about it. Next thing you know, the painters are selling crazy. They're able to sell at least one for $15,000. What I took from that was the family did not know what to do with this artist's art, right? Because now it's like this couple that don't know nothing about y' all are able to kind of benefit from the art of your daughter, your granddaughter, your. You know what I'm saying? This person who's. Their family has no connection to the value of the art after the fact. And this is almost 100 years after this person has passed. And it really taught me about, like, as creative people or as people that, like, invent things. Your name does not disappear when your heart stops beating, but you can vanish if someone's not able to take your art or take your work or take your creativity and know how to utilize it in the world after your life. And it made me really think about how often people's family or there's no estate in place to protect your. Your. Your art in. In your life after.
I think that is a very. That story is, like, it might take. It might take someone else that ain't got nothing to do with what your family built out to see the value in it and help grow it, right? I was introduced to. So there was two things that I was introduced to in 2025 that I was super excited to work on. The first thing was Othello, the Broadway play Reimagined. Denzel Washington. If anybody know me, they know I love. I'm an actual Denzel Washington fan.
Yeah.
Right. So I'm. I'm not one of them niggas. Like, I'm really rarely a fan of most niggas. It's like, Denzel Washington, Deion Sanders, Obama.
Yeah. This your big three?
That's like. That's the big three. Right? And so that play was so successful that people was kind of, like, confused why I didn't even get a nomination for Atomy. Right? And then the second thing I got introduced to that I was excited to work on was this documentary about Gil Scott Heron. And it's so interesting. When I first got this email from Vanessa, I was like, man, this is so crazy, because a lot of people don't know. I use Gil as a reference to songwriters on how to, like, be able to have conversations as a. As an artist. Right? So I use Gil, I use Bob Dylan, I use Amy Winehouse, and I use the Dream as my songwriting conversational references for those different things. Right? So dream is the pop is my. Is my. Is my west side twin.
Yeah.
Right. I've been doing work and connectivity with the Bob. With the Dylan family for forever, right? And to be able to potentially work on that. The Gil Scott Heron project, right? Obviously. And we got records with Salaam Remy, and he would tell us these wild house stories. And it wasn't until, like, sitting down, thinking about this episode where I was able to, like, put these different things together. These are references that I used to tell Brent that I used to tell any writer, like, yo, these are the writers. These are the voices. These are the tempos of, like, creativity. When you're trying to connect, right?
Cut through.
When you're trying to cut through. I was. It's this really incredible artist developer named Nick Cooper. He does. He focuses on vocals, but he's a mental thing, right? And he was doing the vocal training for the guy that was playing Prince in the Broadway, and then the guy that was playing Michael Jackson in the Broadway for Michael Jackson, bro. He had that guy in Prince sing for me. That nigga sound just like Prince.
For real.
You sing and kiss. It sounds just like Prince. I was like, whoa, this is crazy.
That's right. Yeah.
And we was having conversations, and he told. He was like. He was telling one of his clients that was. He was doing a lesson while I was there. He said, your superpower, you think, is your singing, and it's not. Your superpower as an artist is your ability to connect, right? He said, your ability to connect is going to be. And this the artist he was speaking to. I can't remember. But. But he comes from a legacy of musicians, like.
Right.
And so it was these things that, like, I'm living in my life in today, in. In 2026. And I'm thinking about the last decade. I'm reflecting on the last decade. Cause I'm about to be 42 in March. Right. A decade ago, I was 32. Right. A decade ago it was 2000, the beginning of 2016.
Yeah.
Right. I didn't have a Brent. I didn't have a publishing deal with Brent. I didn't have, you know, I had a publishing deal with another artist named Troy Irons, where, you know, I signed that deal in 2014. The. You know, I was managing a producer in 2013 that did all go everything, which turned into uptime funk. Right. And it's like all of these different things. So now when you're fast forwarding, fast forwarding all these different moving pieces in 2025, D Miles, who does so many things with Bruno Mars now, is like, he worked on a project we put out with Soul Action and Joe K for his original music. Right. And that it. And so I'm just reflecting a lot about, okay, where do I go next when it comes to music? And it's about really just investing into legendary black IP rather if they are alive or they did, and figuring out how to be a part of it, figuring out how to actually serve in that way. And for me, it's like one of those things that's super important to be able to grab. So, like, for me, legacy is not only a business plan for culture, but legacy is also. How does culture play a part in preserving other black and brown ip? Similar to the story about Kellogg. Is her last name the artist, huh? Yeah.
Nah, Absolutely. I mean, how did you find out about Gil Scott?
That's very interesting, bro. I can't even really put the name. I can't really put the name on how I found out, but I know it's probably through the public. Public disposal.
100%.
There was nobody just put me on it.
Exactly.
It definitely through public exposure.
Well, it's interesting because he's not like this huge commercial artist.
No.
Right. But his words are in our vocabulary. Revolutionary Won't be televised. Like, we all know it like the back of our hands. But I remember when I think Excel Records did the. The album a couple of years ago, probably 10 years old now, where he was like an older gentleman and they were like, Remaking his songs. Drake samples him, and then, you know, it's like he continues to kind of like, re. Emerge in culture every cop. Like, every five years. Right. But I don't know if I wonder how his estate is set up, because I don't. I have no idea.
Right.
In that aspect. But I know his music, his words are so valuable to the way we learn, to the way we think, to the way we speak. But again, you never know if an artist, although it's not commercially successful, will be culturally impactful and how culturally impactful.
Right. So it's interesting because, I don't know, a lot of people know this, but Bob Dylan, when he was naming his children, he named his children after famous poets. Really?
Yeah.
So and then that. That legacy continued. And I think it was all of the men was named after, like, famous poets and. Or philosophers. Yeah, I think it was either famous poets or famous philosophers or both. And so for me, man, when we think about poetry, it's funny because I used to write poetry, too. Like, girls. I like. Like, in relationships.
I was a poet.
I just write. I used to sit down and try to write poetry.
It was like.
I don't know how good it was. It just depends on.
Was it like, raps or do you feel like it was little?
No, it definitely was poetry. It wasn't a rap.
Okay.
You know raps at all. Yeah. If those. That was corny rap. You know, you just got to get away with poetry being a little. A little.
A little. Yeah, a little bit. Yeah. Yeah.
But it is. I. Because at the end of the day, man, we're like storytellers. Gave you hope. When you coming from broken family, when you coming from the inner city, you know, these poets give you hope. I mean, I remember the first time that I really. Because I didn't really listen to, like, Reasonable Doubt until I was like, in my, like, late 20s, early 30s.
If you were from Atlanta, that Jay Z album doesn't get you until you 25.
No, either.
I'm telling you, I didn't hear that album until I was like, 25, man.
When I heard that album, I was like, this is a grown man album. This his first album.
Yeah.
This is crazy. But that's funny. It inspire you to want to do something every time. That's why I rap now. Like, I just. I listen to Kendrick all the time. Yeah, right. All the time. I listen to Kendrick and the end of 22 with the GNX album. Yeah, end of when that came out, bro. I literally listened to that all the time. From 2024 all the way to now. Because the theme of that, of that album just fit me all of 2025. With a lot of the shit having to deal with, with a lot of the. The business, clients, lawyers, all of this. It just.
It just spoke to you.
It just spoke to me, like, on so many different ways. You know what I'm saying? And I know, you know that that is going to clean up at the Grammys this year.
Sweet. Sweet.
It's going to clean up the Grammys this year. And I'm like, man, I remember I went to SZA and Kendrick's show in Atlanta, and I'm like, showing, like, some of the artists like New York, la. I'm like, yo, you better. This is where you gonna be at in six years, seven years, right? I'm texting. I'm texting Punch and I'm texting Jane. I'm like, yo, this shit is incredible, right? I'm hitting day free. I'm like, man, I. I'm just praising. I'm just like, the old you niggas is like, y' all are really building a legacy. And people know that there was conflict within their ecosystem. They was able to, like, find each other back and, like, figure out how to keep working and keep building. And then you birth Dochi and you birthing these newer brands of artists. And it's like such a strong.
Legacy.
Of TDE and that album, gx, gnx. And plus, I'm an old school, so, yeah, now I'm looking for me a.
G. Yeah, I know you want one.
Grand national now, you know what I'm saying? That might be what. I replaced my whip here in Atlanta because I'm gonna take my whip that I got now to Miami. I might just get me a grand national joint from here. You know what I'm saying? It fits you.
It fits you.
And so that album, that album to me felt like 444, right? And the experience of it, right? Because 4, 4, 4 connected to my life. Because he was talking about it was like a grown man's album, but he was talking about, like, being independent. And we listened to the album when it first dropped, all of us in Dr. 2017. We literally was eating food, didn't know what to expect. Because it's like this older Jay Z album.
It was a surprise drop. It was no, like, single nothing. No, it just came out nowhere.
And that thing was.
So y' all were already ndr, who's.
Already NDR working on Sunderson.
Damn.
And that album came out and we all listened to it, thinking that it was gonna be.
Yeah. Yeah.
And that thing came on. I was like. We were like, whoa, this Jay Z still with that. Wow. And so that album. And I've told this story before, I heard that album. Then I met with no id, who produced the whole album. Then I was asking him a whole bunch of questions about the shit. Then we dropped the article. That article ended up getting to Tata. Tata showed it to Jay Z. Tata invited me to Miami to the 444 show. I'm watching the show. Then Tata introduced me to HOV after the show. Yeah. And like, it was like that album cycle for me was like, why? It's one of my favorite albums now. That's the same thing with Kendrick and the.
The.
The GNX album. Because one.
The. Where were you at when they dropped?
When the G next dropped, when the GNS dropped? I was in Miami.
You was in Miami 1000.
And that. That trajectory of the. I guess you would say the king, the kingship, or should you say the. I don't want to use the word association because we have Top Dog Punch, Dave Free, myself, Coach P, Stan Jay down in Miami. Barry. There's a certain kindred spirit of, like, driving up this independent mind frame or independent thinking. So the GNX album, what I was going through in 2024 and 2025 related to me then, you know, I'm going. I went. I went to, you know, I go to the Super Bowl. That's like a thing that I started doing in 2023. So 2023, I got, like. Ever since then, I go to every Super Bowl. And so then experiencing at the super bowl, the way that, you know, all of those different moving pieces was together. Right. Then experiencing it, the. The stadium tour. Right, Right. But then the album just keeps speaking to me. Right. And you know, me and Dave Free, and we ain't best friends, but we've always shared ideas of what we want and, like, the respect. Like, man, y' all doing PG Lane. That shit crazy. Like, it would always be this thing. We've worked together before on different brand campaigns and things of that nature. And then we have, I think like two time platinum record with Baby Keem, Brittany Baby Keem with. With. I always call this the Tick Tock. Renamed the song 1616 phone, 16 missed calls or some shit. But.
The.
The. The record with Brennan, Baby Keem. So the alliance of, like, working together, kindred spirits on, like, being independent, being. Being fearless. Right? Yeah, that album spoke to me in that way. Right. And so the thought process of all of these moving pieces are, like, very important, to say the least.
So.
Yeah.
Leading to legacy.
Leading to legacy.
Well, man, I think that was an excellent way to close out this season. That's FYM show tying, yo. Yeah. Please leave us a comment about how you guys imagine your legacies or legacy that have inspired you to consider legacy. And we'll see you guys next season. Peace.
