 And this is why you guys can all find value in having things beyond just your music because Reese Witherspoon's Hello Sunshine sold for $900 million. She started a book club and then does a deal with these authors to get her book read by that book club and then turns those best books into TV shows and movies, sells them to Netflix and other companies. Like what Kanye did was Adidas and the Yeezy brand. You know, he had the collab and he was pushing into his audience while he was building the fashion narrative. People are really taking to the designs and things so we're gonna give you this entire shoe brand. True, true. To build off of. Right. What's up, what's up, what's up, I'm Brand Man Sean. I'm Cory. And we are back with another episode of No Labels Necessary Podcast. You can catch us every Tuesday, every Thursday on YouTube, Apple, Spotify, whatever you stream, your podcast here at the intersection of creativity and currency. Today, we got a quick little mini-sole for y'all, some really dope topics focusing on business model which is so important for creatives. Nobody has this talk enough. So we're gonna talk about a genius business model that maybe you can get some inspiration for. From two, we're gonna talk about how the record labels business model is a little messed up and how artists can kind of think about their team in regards to that. And also the last one, we'll keep it a surprise, just a little update on one of our other topics that's become an ongoing thing. The first thing, the very first business model that I gotta speak on, gonna shock you with this. Gonna shock y'all with this cause y'all is gonna be like, oh, I can't believe you talking about this. Reese Witherspoon. That's cause I ain't heard that name in a minute. In a minute? Yeah. That's cause she been working, y'all. She been working. Content creators, listen. Reese Witherspoon's Hello Sunshine sold for $900 million to some media company. I'm not gonna even get into all those details. And this is a new, by the way, this is in 2021. Now, what is the lesson to take away? Cause I heard this news back when it happened just randomly on a meme or something like that. But more recently, I've learned the business model that she uses and how she got things, pop it off. Reese Witherspoon started a book club. Okay, I was gonna ask what is Hello Sunshine. It's a book club? No, okay. Actually, Jacory wants to delay the payoff. I like what you're doing there. We about to find out what Hello Sunshine is officially. It's her media company, generally speaking. Okay, that makes more sense. So, Reese Witherspoon's Hello Sunshine has been sold for north of $100 million, $900 million to a media company backed by private equity firm Blackstone. We talking money money when you talk Blackstone. It's a $900 million kind of thing. Yeah, that's a trillion dollar business you're dealing with. But here's the overall business model, right? Let me read another little quote and then I'll give you all those details because it is worth listening to. Trust me, today marks a tremendous moment for Hello Sunshine with Reese Witherspoon said in a statement, I started this company to change the way all women are seen in media over the past few years. We have watched our mission, oh, thrive through books, TV, film and social platforms. Today we are taking a huge step forward by partnering with Blackstone, which all enables us to be able to tell even more entertaining and impactful stories. All right, cool. So the entire conglomerate actually does include the book club. Now this is why it's jeans. And this is why you guys can all find value in having things beyond just your music because this is beyond her being an actress, right? She took a step back and started being a part of the back end. So what did she do? She leveraged her influence. She started a book club for all her fans and women who are interested in her. Okay. All right? She then took that book club and then made a deal with authors, probably authorises. I'm sure that's the thing out there. You know, they flip everything. I think so. You know what I mean? Did a deal with all of those authors and they would then read their book, all right? Other women artists. That's the pay plug into the audience that she's already. She plugs them in. Wait, wait, wait, wait. It's not just a normal paid plug though. Okay. She has a book club, builds an audience with her clout for a book club, goes to authors and then does a deal with these authors to get her book read by that book club. Okay. Then she A.B. tests which books are the best and most engaging books through the book club and then turns those best books into TV shows and movies, sells them to Netflix and other companies. God damn. That sounds like a mix of like Oprah and Tyler Perry, you know what I'm saying? With a little bit of Amazon. Yeah, a little bit of Amazon, yeah, exactly. It's a brilliant business model. A brilliant business model because how many times do we see movies come from books or video games and things like that? Uh oh, somebody might need to figure out how to do that for now. Video games, the way it happens is a lot harder to get it popping. Yeah, you could figure out faster too. But there's some version of that, right? But this is a clear, perfect example of how you can be known for one thing, right? Leverage your adjacent interests. In this case, reading. And I've been saying, I've been saying book club for years to people, right? It's just one of those random interests. And I know out of all the opportunities we talk up about like gaming, like Smash Brothers tournaments and basketball tournaments and all these things, I always feel like people give book club the least energy that don't sound like you can make money. But it's a clear example, right? She used it, A-B test, the power of A-B testing and then literally used that to then adapt into movies. And I mean, come on, you got a built-in fan base. Everything is, it makes it easier to pitch because I can say A-O, Jacory. Like people are already engaged around this. So it's an easier sale because you're worried about investing in something that's not going to get a sale, right? And then it becomes a bigger hit which then I make money off of that back in too but it will re-seize. Like it's an ecosystem man. Building your own ecosystem based off of your celebrity because every artist, what you're building is celebrity as a part of your brand is going to help you escape being in the hole or being, escape the limitations of music money. That's why I keep saying that's my new motto, escape the music money limitations, man. Like, hey, you ain't heard of Reese like that. She acts on what she wants to. She don't have to be in a pop movie anymore. You know what I mean? She come out whenever she want to. That's why she got that money. 900 million, I ain't doing no more movies. I'm in the house. What's the other woman name who has the honest company? She was Honey. That movie Honey is supposed to be like the hip hop Jessica Alba. Jessica Alba. Hey, like they started getting that other money and it creates freedom, right? So that's just one thing, business model. Now let's flip it to the music industry specifically. We just talked about the business model in the record label specific category. Yeah, I was like, what would be the music equivalent of this? Well, oh, wait, wait, the music equivalent of this? Cause I wasn't switching, so I'm totally different. Oh shit, my bad. The music equivalent, let's give it like a two minute brainstorm. What would that be for, wait, within music or just for another artist and what they could do? Yeah, let's say for, let's say, I'm Lil Kory. Lil Kory. And I wanna apply this. I didn't know about your demographic though. My demographic is 16 to 25 year old mixed race kids. Bro, we might need to do a real artist, bro. You gotta do a real artist. All right, let's say, let's say, all right, let's make it easy. Travis Scott. Travis Scott, okay. Travis Scott, what would Travis Scott be able to do? There's so many categories. I mean, obviously you could do that with like a fashion category. Yeah, that's what I was about to say. That's like the easy go to. So, you know, like see what people like and then allow them select and then, you know, make something pop from there. Actually, I guess an example that's kind of been done is like what Kanye did with Adidas and the Yeezy brand. What do you mean? It started off as kind of like just, you know, he had the collab and he was pushing into his audience while he was building the fashion narrative. And then I feel like eventually that kind of saw like, oh, like the designs or people are really taking to the designs and things. So we're gonna give you this entire shoe brand, you know. True, true. You know what I'm trying to build off of. Right, right. I look at, cause it sounds to me it's like, all right, she built this focus group that she could use to monetize, use to monetize with other creatives. And then based on their performance within the focus group, she can monetize even higher by now, turning it into a movie. So I kind of sit at the same place like, hey, I can take your shoe, sell it to my audience. And if I see that like it enough, then just give me a whole, give me a shoe, like a real shoe line. Test my designs, prove myself and prove the designs. And because I have obviously such an audience, you can see the hype around it. Cause we can always just kill a shoe we want to. Just put the design out, it's not getting divide. You know, and we see a lot of stuff with that too, that those things that never came out. Maybe like, well, what happened to the XY? Oh, only two were actually made or 10 were actually made, or it was never released. And they say it's like some other non-business related thing, but really it was the fact that it wasn't gonna sell. It's like, oh, the materials are no longer available. Right, right, right. All that kind of stuff. So yeah, I think that's a good enough example. We should do an episode that deep dives on that though. Like try to find those type of examples. We're gonna switch up for now, but I like that actually has a great idea. So, all right, so I wanna give a reminder that being independent is not just about not being signed to a label, it's actually making money without being signed to a label, being able to have a sustainable career. And for those of y'all who actually want to be able to make money from your fan base, you're serious about figuring out how to monetize, I have a free video that you can check out. I don't need your email. I don't need your phone number. I don't need any information. All you have to do is go to www.nolabelsnecessary.com slash monetize. And I'm gonna show you the lies that artists have been told that have been keeping them, probably you too, from monetizing your fan base and how shifting that perspective has allowed one artist we're working with to be on track to make over $500,000 this year. This is a different era. Don't fall for that trap saying artists can't make money. Artists do not have to be broke. So if you wanna escape that trap, go to www.nolabelsnecessary.com slash monetize. You do have to make sure you put the www in the beginning when you type it in your URL and watch this free video again. You're not gonna be asked to put in your email. You're not gonna be asked for your phone number, but it won't be up forever. Check it out. Record labels and an issue with the business model. I was just talking about, and many of y'all might not actually have had one of these scenarios happen to you or know of these scenarios. But a lot of times you have these A&Rs, if you will, or just middlemen, if you will, that will build up artists and send them over to the labels, right? It sounds like a great deal. It's like, hey, little Cory, I'ma come to you. I'ma get you poppin', and now that you're poppin', I've built your market value and I can sell you off to the labels. But here's the real issue that happens a lot of times. You have somebody who works with an artist, helps build them up, sells them off to the label, but you get rid of one of the most valuable parts of that artist or their path and their blowup because that person who was really integral in blowing them up, sold them off to the label, and now the label doesn't necessarily know what to do with them. And sometimes, a lot of times, the artist doesn't know what to do with themselves because that person was way more integral than the artist thought, right? That'd be the big one. That's the thing. And then the label is like, you're investing in half of a business because that goes into underappreciating the value. Let's just say this marketer, A&R, whoever, who leveraged their resources and maybe even directed the artist, told them what to do throughout certain scenarios, and now you're just left with the artist and it's bad for everybody, right? Label's like, oh man, I don't know what to do with this next thing you know, well, we'll just drop them. We'll just consider that one of the Ls. So there should be in every other industry, well, most industries that I know of, they have a clause when they buy a business, they try to negotiate something where you have to stay on for a year or two. There's a transition period before you can leave because we don't want all of a sudden a company to just blow up. Everybody say, hey, we were loyal to Corey or there's too much IP of why things were working and we need to make sure the transition is smooth, right? That same thing exists with these artists. And I feel like people don't acknowledge that enough if an artist starts taking off and there's people around them don't just allow that. I mean, I don't know who that's worse for the record label side or the artist because at least the artist got in a better position. You know what I mean? They're signed, but then got in a better position for a moment in time. Yeah, I was about to say, yeah, it's temporary. Temporary, good position. Temporary, but now you're just flailing in this label, unacknowledged, nobody knows what to do with you. The vision that got you there is not longer than the person who was selling you to other people. That's another part. They just helped you and sold you to another organization. That means it's not just about selling you to the label, you still need that selling ability in understanding how to pitch you ability throughout everything you're doing as an artist because a great manager is always pitching you to playlist or, well, people they know around playlist, sometimes it's directly a playlist of sponsors, booking agents, whoever. You always need somebody who has the ability to pitch you and if you just get passed off and needless to say, some of these artists, managers are not necessarily that one that got them there. I think that's where it gets lost, because there are those positions that have, I think, seen that and figure out ways to bake themselves in. Typically, I see it being managers and A&Rs. Managers and A&Rs are finding a way to stay attached to the situation, right? Some of them. Some of them, yeah, good point. You got some of these guys who are like, all right, I'm gonna pass you off and I'm gonna get a managerial fee even though I'm not even gonna be involved. Yeah, or the A&R is like, I'm gonna pass you off, I'm going to the next hot guy or something. All right, I'm trying to build another business and sell it off. I'm buying sellers my entire way of moving. They flipping. Man, but I do feel like what's so harder, what's hard about that is it's hard, sometimes to quantify who was actually impactful and blow up until, to your point, you can kind of step back and look at the, now that the process is over with, you can analyze it more clearly and then you start to see like, damn, bro that videographer I hired, I'm really seeing people saying they missed the old look of my videos and then realizing that dude, I got rid of to go get, you know what I'm saying? Hype Williams with some shit. You know what I'm saying? Like that shit. I'm paying 10 extra amount of money and then people are not messing with it. Yeah, it's like a .5 extra result. So I do think that's one of the issues. Especially when the artist is blowing, it's like shit be moving so fast, like it's so hard to like sit down and analyze. We've been in that position, man. How many times have we been, you know, work with a nice little bright-eyed, you know, indie artist, you know, they pop off, label come scoop them up. They're like, all right, we're gonna, you know, throw you to the label marketing team. We're like, all right, bro, you know, it's fun. It was fun working with you while it lasted. Hopefully we see you back in another three, four months. Not for good reasons, but like we've been in that position where it's like, man, you know, I get it, it's gonna be hard for you to fight for the marketing team, but you need us. You know what I'm saying? Cause we've already done the research to your point. I think too, it's like, man, we spent, like they have been clients where we've spent two years just talking to them to understand them enough to give them even an inkling of success. And then to your point, they never get passed off to this group of people that not only have to learn them, but they have to also learn them while figuring out how to keep the momentum going and keep growing them. It's a hard thing to do, you know what I'm saying? While they're also handling other artists. Yeah, exactly. While out in a lot of other artists too. You know, when you talk about getting to that level. So it's like, man, I was just telling somebody that, man. I had a conversation with another client off line and I was saying like, that's the interesting thing about, I think artists working with labels is like, they sell you on, you have this team, this individual team, but what they don't tell you is that everybody there is working on 100 other things at the same time. So like you are like, oh, I got a marketer, I got an A&R, but then that marketer got 50 other artists on this roster. So you might realistically get 30 minutes of that person's time and work out the whole week. And then people look at it like, oh, y'all expensive. Like, yeah, but we only working with like 15 people, man. So, you know, more expensive, but more time. So I do get it. More tension, hands on. I do get it, man. We only work with 15 people no more. You get that out there. Don't put that in the universe. Oh, you're right. My bad, y'all a lot. I'm listening to that. It's about five max. And I think too it has to do with just like, like how do you quantify, because to your point, right? Like if I'm an artist, let's say I've somehow lucked up and I got eight people helping me with different things. Right? When I pop or when I have a big moment, all eight of them are going to evenly feel like their contribution is what helped me get here. The booking agent is gonna feel like, yo, me getting you on that open and set it rolling out really pushed you a long way, right? The marketer's gonna feel like me optimizing those ads and getting those five or six influence posts really helped you out. The A&R is gonna be like, yo, me help connecting with that one producer really helped you out. So then how do you as an artist or a person that's a core part of the artist team accurately assess whose contributions really were what helped you go? Cause there's an argument that all of them, all their contributions are the reason you're here social, all of them make a case to, you know, be sunsetted in, you know? Or do you step back and go like, all right. Eight of you were impactful. Maybe all, maybe, yeah, eight of you are contributed, you know, or eight of you weren't impactful. Six of you only contributed 10%. These other two contributed 20% of peace, right? So I'm taking these two with me. You know what I'm saying? How do you quantify that? Yeah, it requires discernment for sure. I think it's understanding for one, the artist themselves, all right? So it's gonna be a little subjective, but and also the fan bases. Like what seems to be most important to the fans, right? And how can I control that? It's like when you think about a marketing department these days, the best marketing departments for companies are in-house cause they understand the brand, the taste, you know? All of that so they can better communicate that and they can keep things consistent, which leads to more impact. So if you have like this consistent videographer where your artist has a good rapport and you're like, oh yeah, my artist is comfortable with this person so they have better videos as a result, right? You pay attention to those things. And I think that's especially important for maybe a manager to pay attention to. Or you know that, I think the videographer thing is easier to pay attention to. Who else would be on the team? You can get fan feedback on that, you know what I'm saying? Marketer, then you will just be like, does this marketer tend to understand what's going on with this artist? Like do they just seem to see the vision? They come up with really great narratives. They seem to get the artist pitch ideas that have a high percentage of the artists actually liking versus, you know, cause you know, we could throw out plenty of ideas and the artist just doesn't stick, right? So I think it's just judging those little things based on what someone's doing first. Like not even among all eight people. Let's just say there's eight people around the artist that they've worked with over time. Just first of all, like what's their quality of impact based on what they're supposed to be doing? Okay, yeah. Once you get that baseline, then you see is there, like so are they top level that? Then you start to gauge like, all right do they go beyond that somehow? Do they creep into other areas where, you know, like us, yeah we can do ads for people or something like that, but then, and we can pitch some ideas to go around a song, but we also do like creative direction. Like mindset shifts. Mindset shifts, yeah, we coaching and things like that. Like, I mean, I will literally have this one guy, and I'm telling him the exact angles. It's like, no, you need to be closer up when you shoot this shot for this video. And then this happens and that needs to happen. Then he'll shoot a video and then we'll make some adjustments on how to come back. Like those are like smaller details. And then, but you have to also probably have some context of what another me looks like. Cause if you're not comparing me to anybody or don't know, cause I think that's a lot of times, some people, let's just say we'll talk ourselves up for a second, right? If we're their first experience, they don't know who to, like the context of like, oh, other marketers might not know X, Y, and Z, right? Or do X, Y, and Z, right? And we pride ourselves on like really staying on the cutting edge. And I think part of it is just cause we've had to, right? So we've just trained to look at everything differently. So I think it's one impact on fans. And like, what is that, is there a synergy there in terms of like what this person is doing is having a high impact on the fans. Two, is there a synergy with the artists that things just seem to click, right? Three, of course, and this is not in any particular order, do they do the job that they're supposed to do at a high level? You know what I'm saying? And if you don't, let's just say, hey man, I sucked at running ass. I'm supposed to be the ass guy, I sucked at running ass and I'm not really good at getting influencers like that. But boy, I'm really coaching and getting the artists in their bag and pitching these ideas. Then you say, all right, well, how can I get him off of those things? But I still understand his impact enough that he needs to be here. And that's the difference between great coaches in sports. They understand their pieces. Phil Jackson, when Dennis Rodman say, yo, bro, can I go to Vegas? And we in the middle of the playoffs. And he say, yeah, go ahead. Cause he know that Dennis Rodman gotta get his thing going and he's gonna be good. But if I was playing, I would not be able to go to Vegas and come out like moving like Venice. Most people can't do that, but he had, but you understand that he psychologically has a different way of moving. So I guess that all that to say is, you know, pay attention to your people and pay attention for them. And then pay attention to the team collective as a whole. Cause that really what it is, it's team psychology. Yeah. I think it's crazy. Cause now I think about it. It ties back to the bigger narrative of labels don't like to develop talent. And I think we tend to think about that musically. But then what I'm hearing in your point is like, it also applies to just the back end times. Like, cause to your point, while that marketer that maybe sucks at running ads, but he or she is really good at getting the arts out the comfort zone with the content. And maybe that's been what's been making the ad swing. The ad setup has been shitty, but he's been coaching him through some good ideas. So it worked out the easy way would be, okay, yeah, we're going to just replace you with an ad person. I think the better it would be like, all right, let us help you get better at this thing. So we can keep you here because then everybody wins that we don't have to like mess up the flow of this operation and you get a level or two better, which like, if you were doing great with a shitty skill set, imagine how amazing you're going to be once the skill set is sharpened, right? Now, I know this, this is a easier one. Like we talking about ads, which is a easier skill set to sharpen like that. But from what I've seen, yeah, most of them are not doing that. They're not going to do that. It's a time lane. Like, I know, I know a person that got a job at a label and like, they were basically talking about it. Like when they got the job, they were just kind of thrown into the fire. Like there was no real like training period. There was no real, it wasn't like a orientation period where they like, oh, this is the right way to kind of do things. They just had to come in, you know, pay attention, listen and pick up and then just get into, get into flow, right? Cause you look at it, it's a hundred people with a hundred things to do every day. Nobody has time to stop you and go like, yo, like, this is the way we send emails. This is the way we, right? And now they might teach you as you fuck up. You know what I'm saying? And that's how they train. And he was like, oh, you messed this up. Don't, don't do that. This is the right way to do it. But they're not like formally sitting down. Like when we hire like market, so like we put them through like a training period. You know what I'm saying? We're like, all right, we're gonna, you hop on the call of me and Sean, you know what I'm saying? Like two or three times a week, you know what I'm saying? Every week for like the next three weeks and then, and then we throw you into the fire. I don't think, yeah, I don't, I won't say every label isn't doing it, but I would argue most of them aren't doing that. You know what I'm saying? But then you look at it and it's like, you look at the artists as this dominant and rough that needs to be developed. Most artists aren't getting picked up out of obscurity. They more than likely built some type of a team around them. And what I think labels do fuck up at is they go like, how can I replace these people around you rather than how can I just insert people into this operation you've already built and give you resources to make your team stronger? Which I don't know, maybe I'm built different, but that's what I would do. I'd be looking like, oh, you already got an ad guy? Great, we can save some money on that side. You know what I'm saying? You already got an ad guy and he already expecting to eat off of your top line? Yeah. You know what I'm saying? Like, oh, this is beautiful, bro. Like, yeah, what he need? You know what I'm saying? Yeah, that's what a conflict of labels comes in when they have all these bureaucratic corporate initiatives or the way they're trying to save money and get things done that prevent them sometimes from doing what's best for an artist. Because really it's easier and it's less work even on you individually. But then, you know, a label might be like, well, I went on this ad data or, you know, we've talked about- We don't trust y'all homie with the budget. How are we gonna spend the whole 10K? All these different things. And they'll throw stuff out like that to hide their real reasons. You know what I mean? It's like, oh, that's a good angle I'ma come at, but that really, I just don't wanna give it over. And then you got those opportunities like you talked about the, I mean, even we've got these opportunities. We just don't use them. I just thought about it. You know, the free money we'll get from the ad programs and stuff like that. Yeah, the greatest. Yeah. But I feel like we can get to more deeper into that maybe another episode. Let's get into the last topic. Quick topic, quick little update. Okay. You know that theory, right? That this Drake AI song being submitted for a Grammy helps further prove that this is probably some label that is behind this whole situation, right? That we talked about that theory. And a huge thing that I spoke on was like, oftentimes when you take situations like this because we know that there are rights issues, you can't, whether it's a copyrighted voice, right, or whatever the particular language is, right? So anybody can take my voice is not technically illegal yet because the tech is ahead of the actual laws. Well, all right, cool. If I can't do that, I can make something really bad happen, something really obvious happen at scale. So then I can then make an argument to the government. Yo, we need to do something about this. They're using this guy's voice. This song is taking off. It's doing so well. And this is a travesty to Drake. This is a travesty to the weekend. This can tarnish his brand. Why would we allow people to use people's voices without their permission? All right, I can make that better argument, no different than when FTX collapse, I can then make better arguments to regulate the crypto industry, right? So there's that theory and we were like piecemeal and certain things together saying, oh, UMG might be behind this because they got Drake and 21 Savage and the 21 Savage song just came out. And all universal artists. Yeah, all these universal artists that are attached to this. However, there's also that theory that Jake is the artist who did the ghost writer stuff. So here's an alternate theory. If it's not UMG behind all of it, like in terms of like they didn't create the ghost writer situation, here's an alternate for me as UMG. Let's just still pretend it's UMG that's still using this so I can expedite the regulation in this spot. Corey, you're not a UMG artist. You just do this dumb song for fun using Drake in a weekend. Me as UMG, I didn't like that this could happen anyway, but I might say, you know what, this is my opportunity. Let me help blow you up and make a big fuss around you so then I can still make the regulation argument. So I didn't create the spark, but I leveraged the spark. And a lot of business opportunities, just medium manipulation, even things that we do, right? Is not some things get created and then some opportunities come to you and you leverage that. So it might have been one of those things as well. They might not have created it, but they might very well be helping push it along or create some level of attention for it in some way or just making a big fuss about it just as that example. So their fuss adds to the attention, only holding that argument, because I'm just having fun for the conspiracy sake of it, but the only holding that argument is, well, this next Grammy consideration thing, that would have still had to come from that camp. If they're not a part of it, that would still have to come from the artist that has nothing to do with them. And Jake isn't a, and if it is Jake, as people like to say, because of that video of the guy doing a deep dive with his incentive B to UMG, which I wouldn't see any, you know, I feel like that's a stretch, but still just the exercise of it, I think these are things that are important for people to think about. We talk about business models and just leveraging things. All right, sometimes you can expedite a situation that to the masses seems like it's not beneficial to you at all. So then you can use that as leverage in a different space. And it happens all the time. Man, they play the public so much, man. They play the public like a violin. And I just be so sad sometimes when I realize how gullible the public is. That's the nice way to say it. Beautiful, man. If the public wasn't gullible, we wouldn't have a job, man. I know, I know. I got to take the good with the bad, man. Y'all keep being gullible, not y'all, but those y'all that watch it, keep being gullible. The masses that be the fans of the artists and those out there, for sure. But that's it for this episode. Just wanted to drop some quick thoughts for y'all. Let us know how y'all like this type of flow. This is yet another episode, another episode of No Labels, another episode of Podcasts. I'm Brandon Sean. I'm Corey. And we out. Peace.