 If you want to go out here and you want to do the bots, you can't do the bots to a certain type of level unless you are assigned to a major label. So that's where I went wrong at fellas. I sweep the system and the algorithm independently and they get different structures and they got different ways to go ahead and find out when you're gaming a system and you're not a major artist. I can't do what a 50 cent or a French Montana or a little baby can do. It's only so much that even if I got an unlimited budget, if I do a certain amount of numbers of streams on Spotify, they're going to fucking trigger that. It's going to trigger the fraud detection. Now, if you are a major artist, they'll still detect it, but they're going to let it go, right? Yeah, they're going to let it go, Sean. And not only that, you got to realize, man, you know places like Sony or whatnot, they all got stakes in the Spotify. So if you think about why the system makes sense, if Sony is paying for the bots to get streamed, boom, the artist is blowing up inorganically, organically. Everybody's going to win at the end of the day because you're building up a star. So now they're going to come back to Spotify to find a little baby. Sony's made money. Spotify made money. They in bed together. The artist is making their, you know, saying profile bigger. So if you got chair focusing, I'm doing the same amount of numbers as little baby and I own all my publishing, all my masters, and I'm recouping my own money, it's no benefit for you. If any independent artists in a couple of street dudes with their own bag and their own Intel can come and master the system like that, bro, they can't win no more. So my job was to break the industry and to show everybody how you could break it. If you own everything, you do your own marketing, you write the marketing off, you build your profile. Now you got an audience. So we could just use their platforms to build our own audience and monetize it like that. Like a little Russell, you know what I'm saying? Like your Ryan Leslie's, who people don't speak about. One of the most genius things you ever done is came up with a super phone that connecting directly with your clientele. You think about the Nipsey hustle. These guys are geniuses, bro. They bigger than just being artists. These guys are pioneers as far as how you can really be an artist independently to another level, bro. Nobody speaks about that as much as they should. Yeah, man, you actually just confirmed something I said a couple of episodes ago. Remember, I said the industry doesn't care about the bot thing because of morality. They care about it because they want to make sure they can control the people like game in the system, right? Like if I don't have any skin in your game, why do I want you to see that way? So now that you've known that and you experienced that, has it changed your approach to like how you're running some of these marketing strategies knowing that you might hit a ceiling where you have to like get over that hump? Or are you still running things the exact same way? I put it like this because what it did, bro, is it helped me kind of like, it actually helped me out. It helped me kind of see like where the loopholes were. You guys know how all loopholes work. And so what I say is this, the artist that contact me and that want to work now, I know it's a certain ceiling that they can go through. So I'll give you guys my exact blueprint. I could care less if Spotify knows about it, doesn't know about it. Like I'm going to get paid regardless, right? They banned my artist profile. So chair focus is no longer on Spotify. But what they can't ban is your metadata because if they ban your metadata, they got to ban everybody's metadata. There are certain artists that have been able to re-upload their tracks, but they had to change the name because there's different levels of fraud detection that's going to happen, all right? For me personally, I got over 200 records in BMI. The scale you're allowed to do as an independent artist every day is 3,000 streams or below. So if I got 200 records and I'm doing 3,000 streams or below, I can do around 600,000 streams a day. You understand what I'm saying? But I got to do it through an assortment of records. So I'm not allowed to have one record blow up, but I understand how I'm going to get paid every day. So if I can do 600,000 streams a day times 30 days in a month, I know how to do my 18 million streams. I still know how to make my 50,000, 60,000, 70,000 dollars. It's by becoming an independent label, which they don't want us to be as young black men. Own all of your artwork, put your guys on your paperwork, build it up together, and become a brand, become a label. So that's how I make my money now, guys, because I understand how to spread the love. Prior to this, get to the money was my record. Dance with me was my record. I was running up the streams a million a day, a million, 2 million, 3 million, and it was like, yo, how's this kid doing more streams than your Taylor Swift, your Uzi Virtue, your Kodak Blacks, your Drinks. It just wasn't working for them. So that's really how I charted, guys, because I was out here trying to break that shit and let it be known. Like, yeah, we figured it out. And it's not for me as far as being an artist, guys. I'm like, you guys, at the end of the day, I love the music, I love the culture, yo, but I love the game more than that. Yeah, I got you. So it sounds like the strategy changed from how can I blow up this single to be as big as possible to like, no, how can I just focus on making my entire catalog be so big that it escapes under the radar? Is that what you're saying? Big, big facts, big, big facts, you're quoting. And that's how I communicate with the artists that come to me now. Like, yo, bro, if you want to do a million streams, give me an album. Give me an album and give me 30 days, and let's make it make sense. And if the album rhythm takes off with people like this record and the way that we put it on different playlists and we move shit around, then you want to know which record works for you. So let the data tell you, if you are an artist, the one thing I want you to know if you're watching Contra brand agency is let the audience, let the people tell you what the record is. Just do the initial marketing. You'll figure it out. You'll figure out what they like. And then you go ahead and put your budget behind that record full force and your visuals and everything you got going on. So that's a can thing. So I like to do that, guys. I like to figure out what's working first before I go ahead and scale up. So some artists and managers are just waiting for lucky moments when the ones who are killing it have systems to consistently take artists to another level over and over again. And if you want to see what that looks like, we just did a collab where we not only show the system that we use, that's resulted in Billboard hit some of the biggest viral moments on TikTok, Instagram and YouTube. But also we got J.R. McKee to break down how he took an artist from zero to one of the biggest hit songs of 2022 and getting a Grammy in January of 2023. This is recent stuff, not old tactics. If you want to check it out, go to www.brandmannetwork.com slash Grammy. Don't forget the www or it won't work. Because J.R. gets into the details of looking at the data, decisions that got made, how much content got created and how they adjusted the content over time for different parts of the campaign. This is real behind the curtains type of stuff. So again, go to www.brandmannetwork.com slash Grammy. If you want to check this out and apply it to yourself. Back to the video. Got you, got you. Yeah, tough. Well, what about that channel? Well, yeah, I was just gonna say while we were on the subject of bots, I want people listening who haven't seen like the bite special and just heard that headline that I noted about you at the beginning to know it goes a lot deeper than you're just a guy who's using bots. You know what I'm saying? Like you really are in that world. You're moving at a higher intellect than someone would give credit for just any artist using bots. So can you explain how you got into the bot world? Why you're in the inner workings of it just so people get a story of get a better understanding of just even how it works beyond just, hey, you're an artist and you find somebody to pay for your bots. Thanks. All right, so look, as of right now, this crazy guy, like I said, I just came home in January. I'm coming home, man. I'm looking at artificial intelligence and chat GPT and I'm like, oh, this is about to be a wrap, but y'all see what artificial intelligence is going like. Videos, content, editing, copyrighting, like the world about to change right before our eyes. I was into the Boston Engineering Fellows 2011 and I got into the marketing world and it first started guys with the search engine, which is Google, Yahoo, Bing. Companies paid me a lot of money to help them rank on the first page of Google because if they had certain keywords that was bringing them traffic, they didn't have to spend money on paid advertising. The best client is an organic client, somebody who feels like they found something. But people don't realize organic is just a strategy. It's just a turn, fellas. It's just a strategy. It's just a way that people feel like they found something. It's a fulfillment. You can even do paid or you can do organic. When I came in a game, bots were used to manipulate the search engines to make people's content show higher than others. So if you got YouTube and your name is Brand Man Sean and you're doing a video on Gucci Mane and it's 20 million people searching for Gucci Mane that day and your video shows up first, Sean gonna get 18 million of those views. He probably gonna be rich overnight off of advertisements and clicks and whatever else he's doing. He might have to invest in his visibility. So Sean doesn't have to be hot 9-7 or complex or DJ academics or say cheese if he got a guy like me because I can use bots to make Sean an authority for whatever content he's posting on the internet. So that was the initial way I got into this lane. I was working for Wall Street companies that weren't as big as Wall Street Journal, that weren't as big as the street and they wanted their financial news information to show up in front of everybody in the world. So I learned how to tweet the game that help publishers in the financial news space get visibility for big, big projects. They paid me a lot of money based off the front end and the back end sales. So I became a millionaire guys in my early 20s. When I seen how that industry worked, this was before Spotify, Title and Apple Music came out. When that came out, the same exact contractors I was using from Upwork Guys and Fiber.com, they transitioned right along with me from the Google search engines to social media to YouTube. Social media, YouTube, Google, the one thing that nobody had the conversation with Spotify, they're all search engines in their own respects. They're just search engines with different topics and different niches. The concept is exactly the same. So the ability to tweak an algorithm based on traffic, views, likes, comments, streams, it's synonymous in every industry, fellas. So this don't just start and stop you with the music industry. This shit is everywhere. You can tweak this shit any and everywhere. If you understand the music industry, labels been buying artists records forever. If you go back to 50 Cent and you go back to Kanye West, they were buying those records to make sure one guy went platinum. They were making sure that she went number one on Billboard because you were number one, then clout took over and then people really came to buy the records and engage. So being number one has always been a goal, whether you were in the music industry, whether you was in different publishing world. And that's how I got started with the box, guys. I've been building one of the biggest bot networks for the last 12 to 13 years. When I was indicted, the conversation that nobody had was that Chad Focus took $4 million and we feel like he invested into the Chad Focus brand. A lot of the headlines that people took was that he invested this money into the music industry. Now y'all know I'm too intelligent to take $4 million and not have 50 number one hits and not to get a Drake fucking feature and all this other shit. So that was just bullshit. The idea was to make it look like I was fucking ignorant because if he got all this money and he got records and he don't blow up, y'all need to stick with us. It was a shot at us. Like y'all niggas ain't smart. Y'all better come and stick with us. Y'all gonna come and buck the system. Is you crazy? Is y'all Lonzo Balls, Marvel? Is you LaVar Ball? You're not sending your son over to Turkey and he becoming the number three pick and he's LaMelo Ball. They don't want that, bro. That's how you see how they attack anything that doesn't make sense to them. So I was something that didn't make sense because I was a threat to the entire industry, fellas. If you can't keep these niggas stupid and you can't keep people uninformed, then guess what? You can't control them. So when you look at your Michael Jackson, bro, and you look at your princes and you look at all the information they was giving us, people don't talk about that, bro. They don't talk about how Mike owned half the industry and all the publishing. They don't talk about how Prince changed his name, bro, because he just wanted to be compensated for what he invested in his projects. You feel what I'm saying? So that's what it was, bro. I figured out the game. I made a lot of money in a lot of different industries, bro. This is just bigger than the bigger than music, bro. You know what I'm saying? It's much bigger. Like I said, we can talk about the ticketmaster, Bill Boyce.