 Did you know that Bad Bunny has a 90-10 contract? So basically what that means is Bad Bunny is taking home 90% of his revenue from music and streams. So Bad Bunny has a management deal with He-Must Entertainment, but that's all they are. They just manage him as an artist. The 90-10 comes from his distribution deal with The Orchard, which falls under Sony. So with that distribution deal, Bad Bunny is taking home 90%. All right, there we go. So I mean, we could let her play it, say what she was saying, but that's the concept that we're talking about because that's what we're going to see next. Maybe we'll find somebody who has no distributor that's connected to a major or anything like that, but under that particular agreement, do you just consider that independent of a major or do you call that independent in general? No, independent of a major because it's like one orchard is connected, orchard is orchard, and then Bad Bunny is Bad Bunny. When those two things come together, you essentially have the same level of power and resources as a major label. It's like that's a well-connected distribution company meets artists that are having a great moment right now or had a great, a lot of couple of moments. When those two things pie together, the effect is almost no different than the major label effect. I got a major label with a way better deal. Exactly. All right, let's finish saying what she said. Of his revenue, he also gets a $30 million advance before he drops an album. Now, whether the album is a flop or not, which never is, he is getting $30 million off the top. Oh, I know what I'm going to have to cut shorty off. Oh, the music. Yeah, that music. I saw you kind of bopping to the music a little bit. I'm like, hold up, is that music? I don't know. Shoot. All right. So yeah, we can't let you play and mess up our coffee right. But no, I think that's the real conversation. It's just, do you consider that independent or not? Right? I think, again, to me, it goes back to the semantics and I get tired of the semantics of, hey, you're in a partnership, but you still came to me with this same-ass deal. It's like, oh, yeah, no, but it's a partnership though. It's like, no, don't be doing it. No, you can, you know, so we're still getting the exact same resources pretty much once you get to the same level. All right. From those same entities, that's not independent in the way that it's marketed. All right. It gets marketed as this pure relationship that's completely in-house, no real connections. And again, when you hear this from me, I always want to keep in mind, this is not me saying there's anything wrong with being independent. That's not me saying there's anything wrong with being connected to majors, any of that stuff. I'm always about just seeing the game for what it is and make sure your paperwork and your numbers suit you. Right? Yeah, you got that 90-10. Look, would you be mad again saying, oh, I got a label, but you did 90-10. And you get 90-10, you good. You get 90-10. That's the part that matters more than the semantic itself. So that's always my argument. I just want things to be clearly defined in the field to be laid out before we just jump into these systems or follow these words and these trending topics, because that's the shit that fucks with indie artists on the outside that are inspired by, let's just say, a bad money or inspired by a center C or Russ or whoever. 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. Yes, these artists have more flexibility. They have larger amounts of money that they're getting per deal or whatever. And they control their entity, their primary entity, right? They can leave agreements. They have a lot of leverage. I think that's the part that's more important versus the word independent or not. So just follow the right parts of that game versus that general idea because then you get these guys shit on YouTube like us. Like just saying, indie, indie, indie, indie, right? But they're not telling you what indie means and these people are usually interpreting it as completely DIY. And that's not the same shit. Yeah, that's why to me, the growth, the growth of the aerospace has been like, you see some people stepping more out of that narrative, right? And more to what you said, hey, do what's best for your situation because, yeah, it's like, unless you, you want to truly be independent, bro, if you're not either doing every position or you train every person for every position you have, yeah, bro, you're not, you can never be truly independent. You know what I'm saying? This is a collaborative game, bro. Like, you can't get around that. Yeah. And what collaboration means you get to lose that title, bro. Now, maybe we will when they see this super, super artist that comes along and does that. But in the meantime, man, you know, that should be working, bro. Take the rope. Let's keep pushing. Hey, shout out to the wrestler though, for that clip inspiration and doing what you've done so far, man. Like you said, you on that, the breakfast club, a lot of people ain't on the breakfast club. And part of that though, comes from doing dope shit. So we talk about getting to those levels, getting in some of those rooms without certain relationships. We are in a way space where you can get higher up. Damn near completely independent of those traditional majors, just because people have power where they say, oh, yeah, I like what you're doing. That's how you get yourself into some roles without necessarily being in deals. And especially when we talk about outside music, right? Charlamagne is in their music. Like that's not his main thing. Oh, I just like you. I'm not saying I don't know exactly how he got there, but I'm sure Charlamagne has brought people on. He just like what they were doing because he seems to be the more A&R individual on breakfast club. Yeah, I mean, making connections and bringing people in like that. So look, do those shit and do their business at UBI. Yeah, all of this. Well, yeah, well, that's the problem. We try to be accurate versus just doing soundbites and niggas just want to hear soundbites. Like you said, the whole idea of being independent or major, we've always been on that new ice. People are starting to be cool. Do us best for you. We've always said that because I ain't nobody life in my hands listening on YouTube. And then you go, oh, yeah, I did this because of shot. And I'm like, yo, bruh, you know what I mean? Like that or not in yours particular circumstance. So that's why I also love the format of podcasts. Well, we get at least give more new ones if you would not just hear these soundbites and then take it around with it in the wrong direction. Yes, I'm happy you're a soundbite and everyone's their life. Hey, man, you should have wanted to watch the full episode. Full episode. Yeah, exactly. Exactly. I got proofs.