 Oh, Cisco. I saw a documentary. Don song, right? Yeah. You know, don't like a Chuck. What? What? I was like, what? All night long. All right. Let me see that. But at one point what they say, living, it was living a little bit, right? Yeah. So Cisco knew the guy who wrote that song. It wasn't, was it Ricky Martin? Ricky Martin? It wasn't Ricky Martin. He was just a performer of it, but he knew the guy who wrote it. So he thought he was going to go ahead and get a clearance before whatever reason. He forgot to do it before the song actually came out. When the song came out, right? Oh, and it started performing like it was performing. Man, of course they hit them up, but that that line that got repeated three times throughout the entire song, living in Villaloca, bro, they said that that songwriter owned and made more money from the song than everybody else combined. That's crazy. Like the Cisco, the producers, all that. So that has to be from impact. That's my only argument. Like, how can you justify such a, something that's literally, when you look at it objectively, a small part of the song, how do you quantify that? It must be, oh, the impact. And if you gauge it, I don't know what time, let me look at when living in Villaloca came out, because there also might have been a hot song at the time. You know what I mean? It had a certain, all right. So that was 1999. And then the song came out. Wait a minute. Oh, it came out of 1999. Oh, sure. Dang. So yeah, that thing was fresh. But he tried it then, bro. He really risked it. Yeah, he risked it. He should have got it before, clear beforehand. Man. So that's that right there, again, goes to impact. Yeah, because the impact included, I could understand what the ones are saying. No, I could, I could get that because I will feel that way if, if I, my part of the song was the most memorable part of the song. And you just wrote like a cool brilliance like my brother, everybody in the club singing my shit, like the viral part on TikTok is my part. I could, I could understand it then, but I do think the overall notion of equality across the room does probably make the room work harder. Right. And look, to be fair, I think that objectively speaking and looking at how things played out, that song could have did damn well, probably the same without that line. However, in that time, it was highly arguable, right, to say that this has that level of impact. So I get it. It's arguable. Would you have been saying that shit in the first place if I didn't write that song? It's no way he would have said that if that song didn't come out. That's a good point, bro. Like a Black guy was never been saying, you know what I mean? Like never been saying that song. So, yeah. So impact has to have some, I'm assuming impact. I mean, outcome on how they judge it in court and things like that, when it goes that far. But, but man, I mean, I think this is just a person, my person basis or how people are willing to go about it. It seems like I know quite a few producers who have a similar relationship to this, because they work together so much, you're like, one of these things going to hit at some point, you know what I mean? And we don't know which one's going to hit. We don't know which one's going to get recorded to, but we just keep working. And if you want it, we get, they bust down every sentence is somewhat similar producers. If y'all are in any of those circles that are pretty free, and you can kind of trust and move like that, let us know about, but we do know if you have a circle like that, that can move like that, that you trust. Man, it makes creativity flow so much easier. All right, not having to deal with the business in that way. Now you might knock somebody outside of your circle over the head. I think that's the more realistic way to have it. I got my circle, you bust it down even outside that circle. It is what it is just like the Mikos, right? Three ways. It don't matter if a buddy got left off a bat and booze. You know what I mean? It's like we bust it down equal. We take care of the family. It is what it is. So I get both sides, but again, my solution is probably your specific circle that you can trust and move it like that, y'all. If you have that type of circle and you don't have to do that way either, but 100% outside of that circle, it probably only makes sense to get what you can out of this situation. You don't even know the people and it is all of this. I checked this out from none other than Ray Daniels. He makes it. She has everything to do with publishing. How I do it on the urban side was that the beat was 50%. The hook was 20. Each verse was 10 and the bridge was 10. A verse in the hook, I'm taking 30%. But when I got to the pop side, it was way different. They just split everything evenly. It's like, yo, it was eight writers, break it down. The reason why their way better is because now we're not worried about who contributed and did what. Like now if CJ's in the room, I'm not worried about did CJ program the drums properly because he's in the room. We're going to split this evenly. So this is his baby as much as my baby. Rather than the way urban side is, we're going to write the hook. I wrote the hook. Man, I gave him the first four words on the intro. It's like, come on, bro. If we all know it's our song equally, we care more. So if I wrote the hook and Tamara has a better line for it, I'm not thinking, oh man, she just cut into my 20%. I'm like, hey, this is our shit. Help me out. Give me something. It's more collaborative rather than who did what and claiming to fighting over pennies. I just don't believe in that. All right. Now I know some of y'all might have y'all thoughts on this, but I do think he made some valid points. So we're going to discuss all sides because there were a couple notable names who had their own thoughts on this as well. Corey, what do you think though? Yeah, I do think it's interesting. I do think that our cultural differences between, let's just say rapping pop when it comes to collaboration, because popping itself is a naturally collaborative genre because I mean, you know, hey, to be like, well, you know, most pop artists kind of get brought into situations where there's a team of people helping and their breath when they want to be collaborative versus rap tends to be this, like, hey, like I got it out the mud, you know what I'm saying? Type of genre, like, look at what I can do when I can kind of handle. So I do think that there's a natural affinity for pop artists to kind of want to collaborate. And I could see how this process will be beneficial because like I said, it's like everybody's making the same amount. There's an equal draw for us to make sure that this thing does well versus, you know, if I know I'm only getting paid 10% for the hook, I might have a gray idea for the verse, but I might hold it back because it's like, I ain't paid for that. You know what I'm saying? Like, I'm gonna let the guy get paid for the verses, you know what I'm saying? Show, approve what he can do. So that's the one thing that I love about his suggestion and the equal splits. Now you have truly everybody there trying to create the best song possible. Because now we're getting the equal percentage, but we only can increase our percentage by making the song do as good as possible, right? And it has to be a better song, theoretically, right, to perform better. Otherwise, my competition is not only the marketplace, but the other person creating this song with me. So I like that aspect of it. Every RSI I've ever talked to says the most awkward part of a studio session is when everybody has to sit down and talk about the splits. Like almost every RSI I've talked to is like, that's when it gets uncomfortable. Because like, I guess reality says saying that this is business, you know what I'm saying? Like you just have fun making music, you know what I'm saying? Then it's like, all right, before you leave this room, let's get this legal shit in order. You know what I'm saying? Nobody leave this room before we get this down on paper. So I would assume that if I walked in a room where I know, like, okay, all of us in here are getting the same percentage of this. Yeah, that takes some weight off my shoulder. You know what I'm saying? And like you said, it makes me a little bit more artistically free or a little bit more creatively free. So that's why like, I could, I get that. Like, I agree with that. Like on paper at least to a non-songwriter, you know, throw it out there guys. You know what I'm saying? It makes a lot of sense to me, bro. Like bust it down evenly, bro. And let the, let the audience decide who should, I guess, quote unquote, be paid more off of it. Right, right. 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, go viral, 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. Now, I know a lot of people handle that awkward conversation by just letting the managers do it. Right. That's a great buffer. So that's always nice. So you and the artists can remain 10-yard relationship, let managers do whatever they got to do. Yeah, you know how I go, man. Got a posture and say what you got to say to get through it. So, but yeah, that's definitely going to be an ongoing conversation. I'm sure there's not going to be one answer for the whole thing. But since I did mention Cisco as a part of this, if y'all have not seen, it's either a voice or a noisy documentary on Cisco Thong's song. It's a brilliant documentary. And the amount of creativity that he put towards that process is really dope. Like it was dope because they had, the producers made this beat. They did it for Michael Jackson. They even went Cisco. Like they played it for him by mistake and they were like, Oh, I didn't imagine Michael Jackson. But it wasn't. They didn't, you know, the Thong song part didn't exist. That part didn't exist. That would be wild. All right. But so he ends up like writing the song, the story of how he even comes up with Thong song. He like went on a date and he saw a Thong for the first time. Like this is when it was in time. It's wild because the funny part is, and he told his friends about it. And they were like, wait, what? And then they start, like some niggas, going out into the city trying to find girls and get, you know, smash and then hopefully see a Thong come across this, this mythical Thong he spoke of. And then a friend came back. One of them was like, yo, bro, guess what? What I found. And he was like, what? That thong, thong, thong, thong. And that's where that part came from. Like, and they do it in for a joke and whatever, but he didn't think it was gonna stay. So it was like the way it came about. And then you see Cisco creatively say, hey, this isn't enough. He went and found a violinist. And you listen back to that song, like, that's a huge part of the song. Yeah. Like he went and found that it was in the dude who played the violin. Like he was so far from that type of music. Classical music. Yeah. Like a little jit older white man. Well, he might have been younger than but now our age, he was still older to me, right? Yeah. He and knew nothing really of those that genre. And Cisco kind of like had him play it. And I was like, yeah, that's exactly how I want it. And when it came out, and it was a hit, he was so detached. And when his friends and people started talking about it, he was like, I wonder if that's that song I played that riff for. Like that's how detached he was. But Cisco was like just grabbing people and even against the producers, you know, will. And ironically, Michael Jackson loved the thong song so much, heat up the producers. And I'm like, yo, well, let's get into the studio. Yeah, I heard that story. I remember hearing that man, who would have thought bro thong song be what tickle Michael Jackson's fans? Hey, bro, Michael. No, I'm gonna get it to tickle with Michael. My Michael is definitely an interesting dude. And more and more, I've heard about him.