 Now, second clip though, man, outcast manager says he never understood these fools. He said he understood saying these southern guys. Now, let me play exactly what he's talking about when he says this though. Being from New York managing outcasts at the time, first of all, there was a complete language barrier. I know the fuck nobody's talking about sitting around the dungeon with. I sit in the room some days with all of them and be looking around like, I don't know what the fuck y'all talking about. I might be wondering why we're playing this. I promise this is extremely important for you to understand and get. But OK, we'll figure it out later because it was just a different language, really. Like, especially not just TV version. I'm saying not this TV version. Y'all saw it like I'm talking about the dirt. The OMP when nobody was talking like just the words. Like, I know the hell of what I was talking about. She got down with the fuck. Yeah, you just like you just like you just like you just like you just like. And then periodically here, fuck New York. Heard that loud and clear. Wait, hold on now. I know I heard somewhere in here. So being from New York managing outcasts at the time, first of all. All right, all right. So the biggest thing, point number one, that's really important to understand. But there's a multiple that we need to get into is artists. You see, this is a world-class group, legendary group outcast. And their manager said, he didn't understand them. What they were saying half the time, literally. But also, they also don't have to like you. And we that we have some recent conversations with some pretty successful people that manage some pretty successful artists. And they don't like the artist's music like that. They respect it and think that they're good at what they do. But that type of music is literally not for them. Yet they're successfully managed in these artists and these artists are doing damn well in their career. That's important to know. And why? Because so many times artists say, I don't want nobody to market my music if they don't believe if they don't believe you got to drink the Kool-Aid. Ain't looking at me. I'm like, I'm a rebel. I'm not drink the Kool-Aid just because you told me I got to drink the Kool-Aid. No, man, I ain't drinking the Kool-Aid. Now that you say I need to drink it, but like that's the thing. So many people think that everybody on your team has to believe in your music, right, in terms of I take that back. Like they have to love your music, be a fan of your music. No, they don't have to be a fan of you. Yes, man, yes, woman, none of that stuff. Now, what you want them to do is believe in what you can accomplish as an artist. Something about your vision. Something about your vision. Yeah, they have to also tend to like care about you and want to do right about you. That's what I see to be the commonalities between managers. Because you got to remember, look, ain't nobody going to like everybody's music in general. And if a manager has the skill set to market different types of artists and diverse artists, then they're probably not going to be the main category and target audience. Scooter Braun managed Ariana Grande, that older white man at this point is not anywhere near the target audience for the teenage white girl. Well, I don't want to say just white girl, but you know what I mean, you get the point, right? They're for teenage girls. That's like where her music was at one period of time. And this is a man frat guy. Like it doesn't connect, but he can manage the hell out of her, which he also managed after Asharoff. And he also managed Justin Bieber. He also managed Kanye once at some point. But I, you know, but if we want to talk, you know, starting more ground zero, those artists that I mentioned. So you do your manager doesn't have to like your music in that way. And they don't have to like your music if they're your market or anybody in your team in that way. But they need to see some level of packaging for you. All right. And oftentimes kind of just just like you for lack of better words, let me take a quick second to say, if you're an artist trying to blow your music up, or if you're a manager, a music professional in general, trying to help an artist blow their music up, I have something that's a game changer for you. And it's completely free. As you may know, we've helped multiple artists go from zero to hundreds of thousands of streams. We've helped multiple artists go from hundreds of thousands to millions of streams chart on Billboard, GoViral, all of that stuff. And we've now made the way we've branded multiple artists and helped them go viral completely free step by step in Brandman Network. All you have to do is check out brandmannetwork.com. You apply. It's completely free. But the thing is, we're not going to let everybody in forever. So the faster you apply, the better your chance of getting accepted. Brandmannetwork.com. Check it out. Back to the video. Yeah, I think it changes from person to person. I don't want to say like, maybe, but go with what you what do you think for person to person? Yeah, it just changes. Like some people, like, like you said, they are managers. I know that work with artists just because they think the music is amazing. And then there are some that I met where they're like, hey, like this person's content is amazing. Like, you know, I can see his vision in the way he's able to string it together or, you know, some that just like the way the artist performs. He's an amazing performer. You know what I'm saying? So it's like you meet so many different people that if you ask them enough questions, you can start to figure out why they can start to justify like why they rock with their artists. And it's not always the music, you know, it was used about for me because you meet so many artists who get offended if it's not music. You know what I'm saying? Yeah. Like, you don't think the music is great. It's like, no, it just might not be the target demographic. But if I understand how to put it in front of the target demographic, you know what I'm saying? Am I still not just as valuable in this relationship? And that's what used to get me, bro. Like, I've really had conversations with artists before. Like, just because I don't like it don't mean I don't know what to do with it. You know what I'm saying? They don't get that, though. I don't like it, bro. Like, it's just not for me. But yo, like you clearly believe in it, you know what I'm saying? I'm seeing some high quality things around it. The team seems pretty solid. Like, yeah, I put my skills in this situation and see what happens. You know, but I still don't fuck with it. Bro, you gave me a flashback. There is this Birth It's Club interview where machine gun Kelly is trying to get Charlemagne to fuck with him like his music. And like Charlemagne keeps going. I think you're a good guy. I don't like your music, basically. And he just like, he can't take it, right? He really won't. I think he like freestyled and everything. And then Charlemagne was like, no, I'm still not feeling it or whatever. But I think you're a good guy and that's kind of what you want. A lot of sometimes, right? It is long as they like rock with you. They have the skill set to do what you need them to do. You can't expect some of these, especially really seasoned managers who are older to be your primary demographic. Yeah, yeah, bro. I think it's like a safe space for artists, right? Like when you're first coming up as an artist or I will argue when most artists are first coming up, their first round of help is usually just fans, you know what I'm saying? Like there are people who are fans of them reaching out to them. Yeah, helping them out. So I feel like they just get stuck in that mentality a little bit. Like, oh, you trying to help me out. You must be a fan. It's like, nah, bro, I just thought I could help over it. Right. See, exactly. That's that's not the business way of thinking about things. Like you said, I just saw something that I could help with. I saw a place that I could provide value and then I'm providing that value based on my expertise, based on my expertise. What you probably don't want is them to think that your music is straight trash, even if they don't like your style of music, because that's just not them. They need to at least think you're probably good at your style of music. Yeah, I have to like, I know me personally, I'll have to maybe not like it, but I can't hate it. Right. You know, like, I got to be like, this is this is going to be objectively good to somebody. Right, exactly. That's that's that's all you're looking for. They can say this is objectively good to somebody I can help you find that somebody and then manage what it looks like to explore and build in that audience. That's about it. And I know that sounds underwhelming. Wow. But that is what it is. And funny enough, though, it's crazy. How globalization has affected music and culture so much because this guy talking about his not being able to say this guy, outcast manager, talking about not being able to understand outcast back in the day. Sound like my dad talking about when he came to the south, because he's from Newark, New Jersey, and he would just be like, what's up? What's up? But yeah, yeah, yeah, he he'd be like, yo, I never understood what he's supposed to say. Like never. And one thing he he would always be like, man, I remember I was in the club one time, everybody was like, go, go, go outside the head, go outside the head. I was like, I know what the hell they were saying. You remember that show song, right? He just had all these stories of like, you know, I'd be talking to somebody. How far away is it? He's like, oh, you just go down the road of peace. Like, what does this mean? Like, the language was so different, but it's a beautiful thing back in the day because you can go to different places and get completely different experiences. Like, going to different regions was damn near like going to different countries today. Yeah, but it's just like walking through Narnia. It's crazy, it's so funny to hear like those type of stories, because now we don't get as shocked because we experience so much of each other online. And because of online, we experience a lot of the same culture. So it's the same when we go to these places and then you get rid of radio, right? The way it was before, because radio is now homogenized to the pretty much just playing the hits. And you have a couple of companies pretty much owning all the stations, right? We don't get as much of an experience of going to a different state and you just driving and then you change the radio station to the local shit and you hear some shit you've never heard before and couldn't in a completely different style, which I missed that part. I'm not old enough for the full like completely misunderstanding other regions, but I am old enough for like riding around and being in a different state and the shit is just completely different shit. Yeah, I feel like that hasn't happened in a long time. For me personally, that hasn't happened in a long time. Like maybe like, I can't put a year on it. It's been a long time. That's great. I didn't even think about that to you, sir. Right. So I just remember finding this one ACE hood one day being in Virginia for the first time. It was like jumping around and I was like, oh, I don't know what song it was. Oh, damn. But I was like, oh, shit, like ACE hood. It was some shit that was like just bringing him back at the time, but I don't know. But that shit was like crazy because I was coming from down here. And I was like, oh, they are not playing. It's a back home in Atlanta, bro. Like no, this is not coming through the speaker. So I do miss that aspect of it, but I don't know, man. In a way as bad as it is, I think it makes culture a little bit easier to navigate at least because it's all just internet culture. So, you know, if you can speak internet, you can, you, you good everywhere. You know what I'm saying? And that's the thing. We're sacrificing the unique and different for the same and convenience. Hey, you're never going to have anybody fight convenience. That's like the humans. Evolving into one race. The humans fate, right? The, it's our curse. Like it's hard for us to fight convenience, man. It's hard. Even to our detriment, it's hard for us to fight convenience. You know, the bad food that we eat, all everything. Look, man, hey, it's convenient, though. That's what I be thinking about. Like the conspiracy theories is like, we're going to all merge into one race, you know what I'm saying? It's going to be one language. I'm like, but that's memes, bro. Memes are something that every race, every gender, you know what I'm saying? Every sexuality, every nation, everywhere, bro. All unite over like a meme, bro. That's just crazy. Bro, we talked about this last week. Remember, I told EJ that he looked like the race that everybody's going to be. You weren't there for that? No, I wasn't there for that. I forgot how we got there, but I was like, bro, I was like, everybody's going to look like you. And he was like, yeah, yeah. You can see it now, right? That's funny as fuck, that's funny as fuck. We got a little bit of everything in him. So I don't know, man. I think, of course, again, we know everybody doesn't have to love your music in that way, especially the higher and higher up and the more people you deal with in business, you aren't going to have that expectation, but that doesn't mean there is no value to people in your business stack, right? They might have some other type of value. They could be close on your team and have exceeding value, but that part just is what it is. And on the other side, though, again, the understanding, man, I understand the convenience of culture today and I appreciate culture today. It's not me hating, but it does suck. Also, not to have those differentiated experiences in our fight to, I'm of the side of things where people say, oh, we're all the same race and everybody's the same, da-da-da-da. And I don't see color. I don't like that shit, right? Not according to this meaning. Yeah, I prefer people to experiences the differences, acknowledge the differences and accept the differences and just not be assholes about it. That's all it is, because the differences is a funny shit, right? That's the cool shit. So I hope it looks, if we homogenize to the point of a billion EJs, hopefully I'm not here for it. Now, with that being said, though,