 And I have to ask you about your idea that the touring model for hip-hop artists is broken. Can you explain that please? Yeah. So, this was an article that I wrote a couple weeks ago specifically about the touring business and especially for hip-hop. And I believe that it's broken right now. And it's for a few reasons. Touring itself, even though it's how artists are making 80 to some percent, 90 percent of their money, the traditional touring model requires a lot more time and the opportunity cost is higher than ever just given the type of culture that we're in now. Touring festivals are popping up each day and artists are getting more, often getting more money per show and it's costing them much less. So that is now an option that they have to do. And I think that a lot of artists specifically are getting a little reticent to try to sign the big nationwide touring deals. And I think promoters are as well because a lot of the big name artists are starting to either need to cancel their tours or are not being able to follow through with them. And I think several people had seen that T-Pain video that he put up when he was like, yeah, anytime an artist cancels a tour, it's because of low ticket sales. Don't believe whatever they're trying to tell you. And I do think that it caught a number of people a bit off guard. But in the past year, we saw Nicki Minaj, we saw Chance the Rapper. These are large names. And I think that it becomes especially tough when you are at that level that they are. And by that level that they are, not just like people that were superstars, but you're either the quote unquote once superstar that was at that level. And then you're not as popping as you were five years ago, but you're not necessarily trying to go down to a Nampa theater, but you were an arena tour artist. And just from an economics and capacity perspective, there isn't somewhere that you can necessarily find that is going to hit that exact cost and cost and demand. Like this is an airline tickets where you can like price things to like the decimal point and then do price discrimination and all that. Like tickets just don't necessarily work the same way. So I think that artists are going to be a bit more itemized in how they do it. And I think touring right now, so if you're a rising artist in a lot of ways, it's like, yes, at the club level, it's perfect. I think it still works at the club level. You can find the small gigs, build your rap in your city, do what you're doing. I mean, this is what Megastarion has pretty much done up to this point. This is what the baby has done up to this point. But then when you're at the level that they are at now, where everyone now knows who they are, they've made it their money. A lot of their teams are thinking what's next, right? I still do think maybe there's a level or two for both of those artists to go. But eventually it's going to become this thing where, OK, there's an opportunity to do it in a renaissance, but it's going to take all your time in this or we can try to get you this headline spot at Coachella. And if we get you this headline spot at Coachella, then all these other doors are going to open up for you because you just saw what Cardi B did. She went over to Europe, made her money. And the only reason that she's touring in the U.S. now is to go to the cities that don't get any type of music festival. And that is what's now broken. We used to see artists go on this linear path of just going boom, boom, boom, boom. And now it's like you go, boom, you go, boom. And then the opportunity start opening up in that traditional model isn't the way that it once was. So you essentially you your your leverage now outweighs the traditional model, where it doesn't make sense because we have all these opportunities like festivals that are going to pay a butt load and you're not going to have to worry about the optics so much of not having a crowd, right? All of those, all of those things. And as you get into intensity overhead, all those types of things. So, right. Not even add in the aspect of already starting their own music festivals because that's now another option that necessarily wasn't there before. That's definitely a thing in and of itself. And it's interesting to see that. I've I've I've seen a few artists with some good music festivals that I would love to go to based on their headlines. Her was probably the last one like already festival where I was like, oh, my gosh, I wish I could go to that one. Right. And I think a lot of people would be surprised that like her has a music festival, but it's like, yeah, she does it because that's what you can do with you don't need to be a superstar. But it means even hard not to call her, you know, whatever type of star it is, she's been like nominated for out of the year for the first two years in a row. But yeah. So it's like she can do that. But yeah, back to Taylor Swift. This is someone that lived in football stadiums for the past few years and could sell them out at a dime. And now she's like, no, I'm good with that. I'm going to start my own music festivals in Boston and LA. And when people at that level start doing those things, that's when people really need to take notice. I'm going to be very interested to see how Beyonce goes about this next tour after this next album comes out. That goes back to that individual model. Right. Taylor Swift is basically doing the Drake, right? Like building her own from roundup. There's I've seen so many smaller artists do that. I mean, I think Rory was probably the first artist that I saw do his own music festival. I don't know if you know he is a kid from Atlanta with love Renaissance. That's how he broke in. But it was called Rora Fest. That was the first artist that I just remember was like upcoming, had their name as a part of it and that I really paid attention to. And we're in that era where starting a music festival is easy. Like I started my true breaking into music. We came from growing a music festival from zero to one thousand almost out of nowhere, right? So I understand the nuances of it. And the idea that I would like to love to get your opinion on it, because one reason I don't outside of personal reasons, and I just want to go that route. And I felt like my energy was spent best elsewhere because it takes a lot. You got to do with a lot of people in terms of music festivals. Margins are pretty low, right? My opinion of festivals is I think at some point, there's going to be a bubble. Right, because there's this becoming this saturation of them. There's festivals easy to create. It's popping up every single day. People are throwing that name on it. The quality isn't necessarily always there. And even if you think about Europe actually went through a festival bubble. Yeah, you have a decade ago at this point, maybe maybe longer than that. Or do you think that the US like has that opportunity? Well, not the opportunity that there's that possibility if here. And if it's soon, do you think that there might be a bubble? Yeah, it's interesting because I definitely I definitely agree with a lot of the sense. And I've heard a number of people question this as well. It's kind of like every spring when the lineups come up, people are kind of like, OK, what's happening? But I think the reason I say yes and no is because there is still an opportunity for a festival that hits a niche that isn't being served right now. And I think when we see stuff like that, I mean, just for instance, not that this is a niche, but when Wayne has his Louisiana festival, I'm not sure if there's necessarily anything else that's like that. So that in itself might be necessarily hard to replicate or even say that that is adding to the saturation because that is always going to attract the fans from Louisiana that have grown up with this man. And they won't go to that festival for as long as they live. The festivals that saturate the market are the ones that are just started in cities for the sake of like, oh, our city doesn't have a festival. So let's have one that seems like everyone else is. There was a few years ago, Pitchfork had this chart that showed the both the saturation and the commonness of festivals. And it was, I believe, is a festival like in bloom in Houston or a festival like one, I think it's called Boston Calling or wherever the one is in Boston. Those were generic festivals. And those are the type of ones that will cause the bubble to pop. And if the bubble does pop, those are the ones that will suffer the most because, yeah, those are the festivals that are getting outcast to perform, you know, 40 times throughout the year and no one necessarily wants to do that. But if you are unique and you're finding a way to get the voice out there, like if the festival bubble pops, it isn't going to affect Tyler, the creators can't fly now, but it may affect all of these other ones that are just trying to be like, what is the Houston version of Lollapalooza? What is the, you know, what do you call it? Charlotte version of Bonnaroo, those are the ones that will pop. Exactly.