 on the artist side, like one bit of advice is just take your time while doing these campaigns. It's going to be so much more beneficial. And you'll also learn a lot about your music and where this fits in terms of like the genre spectrums, you know, and also it can open doors in terms of insights as well, you know, could, you know, different fans, you know, you could be like, okay, sweet, I'm actually fitting into a lot of these playlists. Maybe I should start applying for gigs more in this direction, this genre direction than what I was doing before. So, yeah, it's a very beneficial process. It's a lengthy process, but yeah, being objective and doing this research and doing two diligence really pays dividends in the end. Right, right. I can definitely see that, like, paying off after you do all the work, right now you have it, right? You don't have to do that research, you just stay in the bag and continue to create. And I hadn't thought about even thinking about how your gigs and the rest of your branding might change on what you get from the playlist feedback. That's dope. I mean, along those same lines, right, in terms of artist accountability, because I think these are really important subjects. You mentioned bought a playlist and not knowing being able to guarantee a specific number. So it's 2022. I don't like to date interviews or whatever, but it is. And I feel like that message has been out so long yet I still have conversations with artists, whether it's for me to work for them or they're asking for my advice on the decision they're making. And many people still say, well, can you guarantee this or what's going to be my return on ad spend or how much money am I going to make back from getting on these playlists? All right, there's still that mentality. And I get it that you say, hey, I want to take this seriously and treat it like a business. And you've heard from all these other business conversations outside of music, right, that you should be looking at these types of metrics to make sure it's worth an investment. I get it, right? But that's things everybody pretty much acknowledges like the music industry is a little bit flipped. It's a little bit different, right? So I want to ask you, why do you think, well, no, why can nobody guarantee an amount of streams from a play listing standpoint? And then I want to get a little bit more into just the music industry and how it works from your perspective. But why do they, can you not guarantee streams? I think the simple answer is because they fluctuate. If you have real listeners on your playlists, the process of curating and building a brand and building out these playlists, the way you get these listeners is you really put a comprehensive list that works together of amazing music and selections. However, you've got to get these people coming back. Every time you make an update, there's not just the one-time thing. They're returning customers on the curator side. So there's that human element that just doesn't make it guaranteed in that sense. So someone says to you, oh, we can guarantee over a 30-day period 40,000 streams. And they're saying, I think the main thing around that is because there is data to support estimates and you look at your Spotify for artists and curators do have insights along these lines. But if they're like, okay, pay me $20, I can get you placed on a playlist that's going to guarantee you this, not in the terms of feedback or in terms of a submission, but in terms of pay for placement, which is Payola. This is when the red flags are waived. And this is when, okay, this is all basically a big sale scam. It's just not, it's just something you can guarantee. And like when you start adding up the red flags, it's just, yeah, it's something that it becomes quite obvious what's legitimate and what you can avoid. So yeah, to some it's the human element of it mixed also with the other sort of supporting layers of how the submission process is done, for example, whether it is just paying straight up replacement or paying for feedback from a curator or for a submission. So what do you say to the artists that says, how am I going to get my money back from this playlisting? I would say in terms of money, I think that's not just about playlisting. I think that's the state of streaming platforms and the royalty rates in general. I think there's a bigger issue at hand with regards to that. It's it's, realistically, unless you're able to drive hundreds of thousands to millions of streams of playlisting campaign, which just to put into context is most likely not going to happen, really not going to happen. Yeah, I think putting into context like that, I think you're never going to necessarily make your money back like one for one or be in profit from a playlisting campaign. What playlisting campaigns are is obviously about like marketing and promotion and like finding new fans. And it's about having an objective is the way I like to look at it. So when you're going into a playlisting campaign, you can just look at streams as an objective. But what's the most sort of like, I guess, tangible thing is like seeing your Spotify followers going up, because then that's getting the people within your ecosystem. So when you have your next release, if they start following you, you're going to come up on their release radar. It's also to start to learn about where your music works. It's all about the analytics and insights that are provided through these campaigns. So yeah, it's an investment, obviously, and it's unfortunate that it doesn't tend to be like a one to one or like even a profitable return. But the insights you can gain from playlisting and the knock kind of effect it can have, let's say you do a playlisting campaign, you then hit the right playlist that then sort of starts triggering a load of other playlist ads, you then finding new fans, you then get picked up by the Spotify algorithm, you then get added into the different yeah, the different playlist by Spotify. And then, you know, then you might get picked up by manager or a label because you're in like the fresh finds, for example, I know many artist managers who are in that fresh finds like every week just scouting through and I know many artists who've also been signed because of their songs being in fresh finds. So it's more, again, to sum it up, it's not about the, in my opinion, the sort of return in profits is about what you can get analytics wise, insights wise. And also if you do hit that golden like campaign, like taking the opportunities that sort of come that way and opening the doors that possibly wouldn't have been there if you hadn't conducted the campaign in the first place. Nice. That's a great, great answer to that. It's way better than what I tell people. Just as it makes I really don't go far beyond the fact that like a one to one return early on when you're investing in your music just shouldn't be expected. That's a more of a long term investment before you start to see a return. And once you hit that exponential curve, you have to build up from any type of campaign, multiple types of campaigns, right? It's not even a one off campaign, most likely, that you're going to do. You're not likely not going to do one campaign or even two campaigns before you start seeing money back. It's going to be a combination of campaigns invested over time, some paid, some not paid that deals to audience and gives you a position where you can then monetize, right? So it's pretty much that. But I love especially the insights and the way that you can leverage opportunities that come from playlisting. I like how you broke that down.