In this informal FYM Show episode, host "Yo" (Speaker A) and guest Worldwide Ty discuss a wide range of topics centered on the future of a creator’s music catalog. The conversation opens with Ty showcasing a personal AI assistant called Instinct, then shifts to his broader skepticism about AI takeover, describing his plan to go off‑grid and build a small, self‑sufficient community. The core of the episode is a deep dive into estate planning for musicians: how to structure trusts and wills, when to sell a catalog versus passing it to heirs, valuing both large and emerging catalogs, and the importance of training a knowledgeable heir or manager. Ty references real‑world examples such as Nipsey Hussle, Big Bang, Pop Smoke, and the post‑humous handling of Big gie’s estate, illustrating how smaller catalogs can be grown or liquidated. He also discusses the business and ethical considerations of releasing unreleased material after an artist’s death, the pressures of live performance, and the unhealthy dynamics between artists and fans. A brief aside covers the Macklemore/Ed Sheeran tour controversy and broader fan behavior. Throughout, Ty emphasizes proactive, business‑focused planning and a realistic view of fan expectations, urging creators to think strategically about how their art will be managed and monetized after they’re gone.
Chapters
I got this. I got this new AI assistant called Instinct. Talk to me. And you connect it to your, uh, all your, you know, your, your Gmails, your emails, whatever you feel comfortable connecting with. But you talk, you can talk to it through WhatsApp and text message. Oh yeah. You can email it. Oh man, let me—
So wait, y'all dialogue through text and WhatsApp like, like a person?
I only talk to it through, through WhatsApp. I like, yo, I need you to sweep my whole email. Tell me what's priorities for the day, what I, what I missed, bro. It be catching stuff that I don't see.
Nah, nah.
Oh, it's sending emails too.
Hold up, hold up, hold up, hold up, hold up. Stop, stop, stop, stop. Hold on. You might've fucked me up with this one. It's called Instinct?
Yes.
Okay. This is like new.
You just, you just started doing this. I'm gonna send you an invite. I'm gonna send you an invite. Is, is anybody on? Hey, bruh, please. He said, bruh, please.
'Cause, 'cause it's like, Ty, my thing with AI sometimes is it's not human enough. Like, like I need to hit you up like, hey bro, help me out.
No, no, this thing be like, Following up on what you gave me yesterday. Like, like real talk, bro.
What? Okay.
All right.
All right. That might be an ad right there for it. Cause you might choose this song.
I'm gonna have to text this one to you. I just texted to you. Yeah.
Yeah. No, no, no. I'm gonna type in WhatsApp.
I texted on, but yeah.
Yeah.
So I'm like, is it crazy?
There's an AI conversation I want to have with you. Cause have you seen this stuff about like, they, they scared, right? About the next 10 years that this shit could take over. Yeah.
They better be scared. Hey, 'cause they saying crazy.
They saying they training them too fast.
Yes.
Like the way they training AI, that they're accelerating so quickly. Ty, does, does that not scare you?
I robot. No, no, don't scare me. You wanna know why it don't scare me?
Why?
Because I am setting myself up to be off the grid anyway in about 7 years. So why the technology don't scare me? I'm going to be out there farming and feeding cows. Ain't no AI can feed no cow.
You're not wrong.
I'm going to scare the Lord Jesus Christ. I ain't scared of no AI. If they get to going, what's that thing they call? Listen, in about 5 years, I'm going to have a— it's going to be A community-friendly small city in South Georgia that if you feel like that AI is really ain't your thing, you can come on down. We're going to have a tiny house for you, but you're going to have to use them hands. You're going to have to chop wood.
Yeah.
You're going to have to farm, learn how to grow some tomatoes, some watermelon in season. You know what I'm saying? You're going to have to learn how to do the things to cultivate the land so that you can earn your keep if you are afraid of AI, because I am preparing for AI to kind of take over y'all phones and then you don't know how to act. I know how to drive a stick and I know how to read maps. I do not need Google Maps. I can know how to read maps. You know what I'm saying? I know how to follow the North Star. I know how to get—
This man is funny.
I know how to get from Miami to Atlanta without using my phone, and I can use the maps and the actual, you know, documentation to get me there. You know what I'm saying?
My man is a survivor. Listen, this is another episode of the FYM Show with Ty and yo. This is how we kicking today off, y'all. Um, this episode's actually not about AI.
No, it's not.
But it does allow me to kind of segue into some things we've been thinking about, right? One thing though, they are afraid that the next 10 years AI could take over. I saw things about the end of the world, doomsday, all this type of stuff, right?
Oh yeah. Jesus coming back.
But it crossed my, it crossed my mind though. That means it's like, all right, let's say you got 10 years to do all your human creative ideas, right? Like you got 10, you get a 10-piece, write that book, make that album, paint that picture, right? Before the robots take over, right? That's the cute idea, right? That you got all this time. But let's say, Ty, that you are a creative, And unfortunately, you're thinking about your life and you're preparing to maybe not be here in the future, right? Because we all have a time that's gonna come, right? How do you think about that though, right? As a creative person, how do you think about your future of your art when you're not here? That's something that's been on my mind.
So, so I'm, I'm gonna talk towards that, but you said something earlier that people are afraid that AI's gonna take over and it's gonna be this world, the world is gonna end.
Yes.
So this is why humans is just so interesting to me. You all are afraid that AI is gonna take over in the world, but y'all not afraid when Jesus come back? Everybody keeps talking about this AI and how they terrified about the AI and they're gonna get bunkers and, you know, you got to learn how to live off the grid. But ain't none of you heathens afraid that Jesus gonna come back? But you worried about AI? It's the most confusing thing to me. So no, I'm not worried about AI. And I have no, I don't lose no sleep. I'm not worried about AI taking over my computer and sending out, you know, messages that I didn't send. I'm not worried about none of that because the truth of the matter is, it is nothing but just another evolution of this journey that we are here as humans into the real. comeback happens. And that's only with, with Jesus Christ coming back again. We so terrible at our job, Jesus gotta come back again.
But you not wrong. You not wrong. Honestly though, Ty, I feel like even before AI, the worries, you remember 2012 when they, they was afraid that the world was gonna end?
Bro, you remember?
You remember that?
1999 when, when all because the century changed. They thought that it was gonna like, none of this makes sense.
I see what you're saying. We, we are very—
You still got Dracos in the street with these 18, 19 years old, but you worried about 1999 ain't gonna be able to cross over to 2000? Like this, I don't got, I, I don't got time for this. But so, uh, what I do got time for—
You're not wrong. You're not wrong.
Is to talk about how do creative people figure out, as the question you asked me, How do they see, you know, their art, their ideas when it comes to a planning of their estate, right?
Mm-hmm.
Most time when people think about planning estate, they think about real estate, or they think about stock portfolio, they think about insurance plans, you know, they think about alimony. I mean, some people even kind of like loop in Your benefits. So, you know, like even with the lottery, like if you win the lottery and you pick the option where they just pay you out over time, you can't pass that on to your next of kin. Like that go bye-bye if you go bye-bye. Right? So—
I didn't know that. Yeah.
So it's a lot of estate planning and I think creative people don't realize that. First of all, if you leave your music assets, music masters and publishing to your family in your trust in an estate, you gotta really train somebody to be able to know how to manage that business because it's a very difficult business. It's not as simple as real estate or stock portfolio. There are history, history, years and years of how those portfolios can be managed through systems and protocol. And I think music will get there eventually. It's not there yet so that a person that don't know music can just plug in systems and financial people that don't like, that know it and won't take advantage of 'em. But the, if your, if your family is not trying to seriously pursue business and music, you should plan your estate to sell your music so that your, your, your estate can be set up in a way that it actually can just generate revenue. And your family can be well off and you can put together infrastructure that pays them over time, or it triggers it based on their age, or it triggers it based on their achievement rather than get a degree and like, oh, I got a degree now.
Yeah.
I wanna go and try to start a business, or I got a degree and that is gonna help me justify why I need housing in this state because this is where I wanna work at or whatever. Right. But I don't, I don't think creative people think about that. They, they don't, 'cause they barely think about the business when they're alive.
Well, okay. First question, how difficult is it to set up what you just explained?
Um, uh, to, to plan your estate?
Not just plan it, but to have it set up where someone could sell it so it can generate revenue that can be paid out to your family. Well, like how difficult is that to set up?
If it has value and you identify the right people in your will and wish, your final wishes, and you know, your final wishes can, is just paperwork where it says, at my demise, my catalog that's valued at, you know, $200 million is to be sold within 24 months. And the proceeds of that sale should go to eliminate any debt that the estate has. And the remaining of that fund, the remainder of those funds go to this institution to manage it. And a percentage of that is going to be issued across my 5 brothers and sisters or my 5 kids, and they're going to get access to the money over a time period of 20, Years, but there'll be certain protocols. You can put all that into your, your trust as you're planning your estate.
Got you. Got you. Okay. That sounded pretty simple, but let's say your music catalog is not worth $200 million or $1 million. Let's say you're still emerging, you're still building your catalog. You do have some motion, you do have some type of infrastructure. It's making some money.
Right.
But let's say before it actually starts to generate millions, you aren't here.
Right.
But there's spikes, all right? After artists pass, there are spikes. There's opportunities for things to be synced.
Right.
How should they be considering their estate?
I mean, they should look at it the same way that Sam did for Nipsey, you know, that Biggie Smalls' mother did. Like, those estates was relatively small. And then especially Biggie Mom, Biggie Mom grew that estate by a lot, you know, by going to war, learning the business, hiring the right attorneys, hiring the right, you know, consultants, things of that nature. When you are a smaller, you know, if you're a smaller artist and you're really trying to figure it out, I think the biggest thing is to know what the value of something can be in the future. And when you know what the value of something can be in the future, you just look at it and you see it differently, you know, in my opinion. And so if your catalog is only earning $100,000, you know, when you passed away, 'cause you died early or prematurely or, you know, whatever that you incapacitated, you find yourself somebody that's overseeing your business because you are unable to make a decision or speak on your behalf.
Mm-hmm.
Even if it's making $100,000 a year, you still should have some planning, some estate planning around it because it's an asset that's earning money, you know? And, and, and some of the estate planning is just having a, a living will that says, hey, when I die, these assets are gonna go. And you might point it to the smartest person in your family that, that you feel like can figure it out on how to grow it with different parameters because it is, residual income. It's not that that money should come in one year. So that $100,000 that comes in every year is residual. That can be, you know, if you got young kids when you pass away, that can be money that goes into an insurance policy every year on their behalf, you know, and everybody else gotta go work. It ain't really, you know, it's not really helpful for everybody because it's not as like it's making $10 million a year. It's making $100,000 a year.
Right.
That $100,000 can grow. Um, and compound, um, year over year when you got a young child that you're trying to take care of, or, you know, from that perspective. So if you, even if you got a small catalog, you still should figure out how you plan your estate around it.
Absolutely. And how, I mean, how do you feel about artists that have music that's unreleased that comes out after they're dead? Life has expired. Is that something that you— go ahead.
I think it's a business decision, one. Um, I think, I think, I think it's a wish. I think every artist, not every, but I think majority of artists, the music that they've made, I think that if they know that this music comes out and it benefits their family, their kids, their whatever. I think they're just like supportive of that. You know what I'm saying? It's just about, does it have value when it comes out? If people feel, does people, do people still believe the story? You know what I'm saying? Like—
Yeah.
And if they do, you know, you can, you can still tell this story. I mean, listen, you got Avatar, that, that, that stuff ain't real. You know what I'm saying? And people keep releasing these avatars, you know what I mean? So if you are an artist that got music that's, that, that could be released, People will buy into stories that are not living if it's, if, if they're great stories.
You're not wrong. There was a time I was pretty critical of posthumous albums because I felt like if the artist isn't here, then they don't have direction in how things come out, right? I think like the artist is always a part of the conversation, is always a part of their releases. So when they're not being here, I felt kind of funny about it because sometimes it feels like it can get pretty predatory in terms of like emptying somebody's, you know, safe of unreleased music to strike for at a moment, right? 'Cause it's hot and we can really— and I felt that the strongest during Pop Smoke after he passed. I feel like they released a lot of music really quickly.
Yeah.
And a lot of it stuck, right? I think a lot of those records you felt like you heard outside, people really felt strongly about Post Malone.
Right.
I also felt like now there's no more music, you know, like it all came out and now, you know, I haven't heard his voice. I haven't heard his name the way I heard it when he first passed.
Right.
And I always felt like, man, that's, you know, you could handle this differently. You could stretch this out over a course of several years if the goal is to extend this artist's name and, you know, longevity of their name. But I've kind of came around to understanding that, you know, everyone has different values and goals when it comes to, you know, the people they work with.
I mean, listen, you know, that's another thing to say, it's a difficult business. So all you know is Pop Smoke people like, man, listen, man, y'all need to put this stuff out here so we can make some money. Empty the clip. I think that's better than using AI to reimagine the artist. 'Cause at least that artist recorded that music.
Yeah.
Right? And you might—
True, true.
You might bring in a producer to like finish it up. You might bring in a feature artist to like wrap up the song, but at least this was the music. It wasn't created through technology. You know what I'm saying?
I agree with you. Are, are these conversations you've had with people you've worked with and artists you support?
Nope.
Why is that?
Um, because they are young and don't record as much as Pop Smoke. Like, they're thin. They all drive on a tire. You know what I'm saying? Like, they don't got that many songs to be talking about. So when you pass away, what you think you gonna do with all these songs? Like, you know? I've met rare, I've met few artists that are on that Tupac, like they got so much music. You know what I'm saying? Yeah. I think one of the ones I've known, artists I've known for a long time, we don't work together anymore, but I would say Forte Boyd. Forte Boyd probably got 2,000, 3,000, 4,000 songs.
Wow.
Like on his hard drive that, That haven't, that, that haven't seen the light of day from those different aspects. So if Forte keeps pushing for him as an artist and something breaks through for him, he absolutely got a, got a catalog of things that's just numerous and numerous amounts of songs. And so it's just gonna be about, is there gonna be anybody that cares that much if something was to prematurely happen to him or anybody?
Mm-hmm.
That got that level of music out. You know what I'm saying? I recently just met an artist that we signed on the Playboi Distribution side. Name is, um, Kenny Hermes. And he was just like, yes, I got like 1,000 songs, like on a hard drive ready.
Jeez.
I was like, woo, jeez. Crazy.
But I guess like when you meet it, when you meet an artist like Kenny and he has 1,000 songs, you're not thinking we're gonna put out all 1,000 songs, right?
Wow. How? You know what I'm saying?
You would think, right? Like, that's not realistic.
Well, you have to put out 10 songs a year for 10 years. And that's if you don't record anymore.
Right.
I mean, you gotta stop recording.
But is that not like a distro dream that you're able to like flood so much music out? Man.
You know, it's like, I think the dream is to have 15 to 20 artists that are serious about their business, who know how, who know that they're making the music for their fans, right?
Mm-hmm.
Like, you have to believe the things that you're saying. As you gotta write it, but you have to believe it so that you can convey it live and on record through studio recording. But, but this is really for the fans. If you wanna make songs about peanut butter and jelly and the fans don't wanna hear you make songs about peanut butter and jelly, they only wanna hear you make songs about being happy and being in love, then you are a happy and being in love artist, not a peanut butter and jelly artist.
Yeah.
It doesn't matter how much you love making songs about peanut butter and jelly. Your consumer, your customer, they like love songs from you, you know? And so a lot of it, when you talking about a dream, it's just like having 15 to 20 clients that know that they are producing a product for their consumers to like. So that means that if the consumer don't like it, you should go back to the drawing board, not try to shove it down their face, not try to insult them saying that you don't know what you like. Go back to the board because once they like it, they, they like it for, for a very long time.
Ty, that's so interesting because sometimes I encounter artists who are hell-bent on forcing their audience to like what they like.
Right.
It's like, you know, let's say you're a rapper that has really powerful political songs and people love your political songs, but you wanna make hit records, you wanna make pop smashes, and your pop smashes just do not resonate the way your politically driven songs are, but you refuse to stop making these pop records. You refuse to stop putting them out. It's like, I get it cuz it's, it's what you wanna do, but if the audience isn't responding, shouldn't that be what you resonate with?
I call it masturbation. Like, y'all gotta stop masturbating, man. This is, this is, this is not for you. Like, think about this. First of all, it's abnormal, right? This estate planning is not for you. So they have difficulty planning anything that's not for them. It's not for you. You're dead. Right?
Yeah.
Yeah.
I see what you're saying. I see what you're saying.
You're not buying your own music. It's not for you.
Mm-hmm.
It's for your consumer who has to feel like, I like this so much 'cause it resonated me with me so much that I'm gonna go spend the money that I spent 40 hours a week. I make $10 an hour. Um, so that means that, you know, I'm gonna get a check that's gonna be less than $400 because I'm gonna get taxed, you know, for all these stupid dumb taxes that I gotta pay as a W-2 employee. So that's gonna leave me about, I'm probably gonna net about $267, you know, $300, something like that. And then I'm gonna go and I wanna pay with my hard-earned money the things and for the artists that I actually relate to. And I'm gonna keep doing that because I like the music, I like the relatability and all those different things. But that ain't for the artists. The artists don't, don't buy their own music. They don't stand in their lines. They don't buy their own merch. They don't do none of the things that changes their life so that they even have the opportunity to have a successful estate planning process.
Mm-hmm.
So the, the carelessness that they have with planning their life after death and like, You know, for their death, for their family. It's the same carelessness they had about— they have about making the music for the consumer that could potentially like the things that you actually like. And what makes it worse is that when you see that they like a certain part of you and you avoid it and still go make stuff to keep making stuff that they don't like.
That is masturbation. That's, 'cause it's self-indulgent, right? Like you are hellbent on, you gotta like what I like.
Gotta like what I like. If you don't like what I like, you don't, you don't know what you're talking about. You don't have no taste. All these different aspects of it. And this is not me bashing the artist. This is me just un— it's a veil. They're like, hey, it is a veil. You work for these people and these people is whoever that demo is. If these people is a bunch of 15-year-old white girls and you just, 39-year-old rapper, you work for these 16-year-old white girls who just so happen to love whatever you're doing on this microphone. And it is what it is and you gotta deal with it. And if you don't like it, then, you know, maybe making music not for you, man. Maybe you should go and raise cows.
I do, I do want to ask you this. This is, this is a bit of a detour, but I don't know if you saw what was going on with Macklemore and Ed Sheeran over the last couple weeks.
Macklemore?
Macklemore the rapper.
Macklemore and Ed Sheeran?
Yeah.
They beefing?
Yeah. They're on tour together. They're on tour together. They're on tour together. But Macklemore came out and had a, a very big Free Palestine moment on stage. And it was not received well by some of the venues.
Sure.
And they asked for Macklemore to be removed from the tour.
Oh.
'Cause they were like, he can't come in here and perform if he's going to be promoting Free in Palestine.
Sure.
And he announced a couple weeks ago that he was leaving the tour. He was asked to leave the tour. And I brought it up because some questionable aspects of this is, did Ed Sheeran, knowing his fan base, knowing his audience, understand that he was taking Macklemore on tour where this could happen? Versus was he making a statement that he actually couldn't support because his fan base and the venues did not receive what Macklemore said well enough to keep that going?
That was all politics, man. Fans don't care about that. Fans will go—
That's fair.
And go buy a beer while Macklemore is talking and come back for Ed Sheeran to play their favorite song. That's all politics with the venues, man, in my opinion.
Yeah.
Fans, bro, fans support R. Kelly.
That's something.
What are we talking about? 'Cause it's still—
Still.
People still listen to R. Kelly. So you think that you gonna convince me that Macklemore going online saying free Palestine and why he on his show is that the fans is the reason. No, it is literally the venues, whoever run the venues, whoever part of it, like, yo, we don't like that. That's the politics side of it. It ain't the fans, man. The fans, they, the fans support rapists, murderers. Like they are not in their right mind.
True.
You know what I mean?
I hear what you're saying though, that this was not something that you do because you're trying to preserve your ticket sales. This is about something that we can't see. This is bigger than music and audience and things of that nature, which is fair. I think that's a really great point, Ty.
I don't hate it. You're not gonna convince me that fans are, you know, there are fans that are like, free this particular artist. And there's just so much evidence that the artist did it. And I'm not talking about Lil Durk. I'm not talking about Young Thug. No, I'm talking about an artist that actually went on the road on a run after they done killed somebody. And, and I thought they even made a song about it. And the fans, they're like, free such and such. Or the kid that, that had the bodies chopped, had the girl body chopped up, decomposed, like, free David. Like, fans are not in their right mind. So that we're clear, we was having this conversation about this, and this is literally off of the point where we talked about There was an artist who is a little weary about live performance because they feel like that is not normal. And so we're on a phone call and one of the people on the phone call was like, well, you know, Beyoncé does it and this person does it. But then we had to stop them and be like, so? That they not, even though it's not good for business on what they're saying, They not lying. It is weird. It is abnormal for you to be on a stage and people like just singing the lyrics, glassy eyes. Like it is, this is not normal. A normal human can't contain that level of focus and worshiping of you. doing art like that, that's not normal. So when we start thinking about the people that show up to these shows in a, in an unhealthy way, being a fan at times can be unhealthy 'cause it can blur the lines between you just liking a product versus you idolizing the product.
Mm-hmm.
Right? And that blur, you know, that blur can happen really, really fast. And, and it, and it happens in a lot of other different places. So it's like Black Friday, all of those people that's standing in line, that's fighting over the TVs, those are the same type of characteristics of fans that will stand outside for 10 hours to get into a venue so they can get to the stage and be the first one at the stage, or that would pay crazy amounts of money Just to go to the tour, just to go to the show. Like, I'll spend a good amount of money to get a suite and won't even pay attention to the show 'cause I'm getting it to, for hospitality, for marketing, to entertain clients, to say thank you for supporting me. And I'll be at the show and, and I won't even really look at most of the, the joint. I won't listen to most of the shows, but I'm not buying, I'm not spending an astronomical amount of money just to be like, to be at the front of the, the stage. Like, no, I'm a terrible fan. If I'm your fan, you ain't gonna change your life. Your life ain't getting changed if Ty your fan. I'm not.
I feel you on that. But, but then to me that means you have a healthy relationship with that artist as a human though.
Yeah.
So much so that you don't wanna worship them and pit them on a pedestal that maybe they're not able to stand upon.
That's all I'm saying.
I, I do agree. It's so interesting to hear somebody say that live performing might not be normal. Like, I like, I like that perspective cuz it's, it doesn't feel normal to me.
Oh, it's— But it's a, it's a part of the business though.
It's a, it's a business for them to do. Yeah, it is. It is. It is. It is.
Look, it's part of the business, which is why the, the artists, you know, and, and, and this is not like, that's why it's hard for Frank Ocean to get on the stage. That's why it's hard. At one point, Bryson Tiller had a whole breakdown, like he disappeared. You know what I'm saying? There's a reason why Shotty ain't going out. There's a reason why Andre 3000 like, yeah, I'm out. I ain't finna be no old, old rapper. Like, what am I rapping about? You know what I'm saying? Like, I'm not delusional no more.
Like, nah. But see, yeah, I mean, when you put it that way, it makes sense. But at the time, there's people that still question, why won't you do the thing we love you for? Why won't you perform the way we want you to? Aren't you happy we give you money?
That is a very unhealthy approach. The people that are like, see, I don't want an OutKast album. You know what I'm saying? No, I would like to sit down with Andre 3000 and hear what his music sound like, but I can't really be like, Andre 3000 need to put out an album. I'm like, nah, man. I'll be curious. If 3000 was like, yo, I'm not gonna put out an album, but for the next year I'm gonna do 200 listening sessions and I'm gonna charge a premium amount for 50 to 60 people to come to the studio in these different places and hear my album, I will pay. I will be like, I'm coming for that. To hear it. You can lock my phone away. If I was under 3000's team, I would treat his Music, how Dave Chappelle treats his standup comedies. I'll be like, yo, listen, I'm gonna put y'all in. We're gonna go through, I'm gonna get, I'm gonna have a setup and y'all gonna come and I'll play the music for you. And one session I might play 12 songs, next session I may play 20 and I have dialogue. And my whole dialogue is gonna be about, see, this is why this was never gonna come out because I just don't feel connected to it. But that's what I would do. You know what I'm saying? That's how I would look at the music being released in that way. It would never come out. I would be like, yeah.
Yeah.
I'm gonna do 200 listening sessions, you know? And I'm gonna do 10 in this city, 10 in this city, 10 in this city. It's only gonna be 50 people each. I'm gonna premium motherfucker. It's gonna be probably like a $350 ticket. And you gonna come, you gonna listen to the music. That's never gonna come out. And I'm gonna sit there and pretty much tell y'all how you should not want it to come out because it's not just nor— it's not normal. Like you all know that it's not normal, right? And it'd be a whole thing that nobody would be able to actually share because all of their phones been taken and it'd just be like, it'd just be a legend that comes and nobody be like, yeah, be like, yo, it's crazy.
But see, Ty, I like the way you, you thought about that as something like, You can uniquely plan the way your music comes out. You can do that live, you can do it when you're not here, right? You don't have to think about everything being this very linear way that this is the way the business works and everyone does it this one single way. You can create your own reality about how your art is handled. 1,000%.
Right.
And just encouraging artists to think about their careers like that because it does make you required to think about your business. You just can't be passive about it. You gotta be very actively thinking about how you want your art handled today, tomorrow, and beyond.
1000%.
But, um, man, Ty, that's all I got for you. I ain't gonna hold you all night. All right, man. You know, um, this is the FYM Show. Please share this with anybody that you think should be considering how to handle the future of their art. Also check out The Culture Playbook Volume 1 and Volume 2 out right now. Volume 3 is in the process of being written and produced. Look out for it.
Yep.
This is Yo, that's my man Ty. We'll see y'all next time.
Peace.
