 Building your brand and maintaining your brand are two completely separate art forms and you have to learn how to do both if you want to have a successful career. It's a necessity and today we're going to talk about a very successful brand that's had a huge huge loss lately and how you can use this case study to understand how you can better navigate your own career. I bet you understand what's going on here. You've probably heard of it, but if not, check this clip out. So let's start here. Supreme's revenue declined over $38 million in the last fiscal year. Man, that's a lot of millions. That's a lot of millions, 38 of them to be exact. Yeah, 38. This is the news and you see it ringing off everywhere in forums on Reddit, Reddit, Instagram. Supreme is dead, Supreme is dead, Supreme is dead. Right? And you don't have to be an artist to be able to relate to this. You don't have to be a clothing brand to be able to relate to this. You don't have to be a public figure. Everybody can relate to this who has a brand, whether it's a company or some public figure, entertainment, artists, whatever. And this is a case study that's so important because it's about impact and culture. Supreme had a legitimate impact in place in culture. It still does, I'd argue. But is it dead or not? We're going to talk from a technical standpoint, but then also share some of the opinions of the public at the same time. Because ultimately, I feel like we can all pull from this to build our brand. I meant to navigate for ourselves. So check this out. Let's just see what one person said about this. To me, Supreme is never dead. To me, Supreme is timeless. I mean, look at the hat. No. It can still be cool. It's just New York people get jaded. The world's a better place when Supreme is a good thing. And no shade, but all shade. But it's just like, I feel like now they're gravitating to more stealing ideas from underground artists. You'll see replicas. You'll see certain things that they do. And I feel like they lost the creative side of it. Box logos was heavy. So I want to say maybe that Supreme is dead. There's a complete montage of people saying one way or another, Supreme is dead or not. But there's a couple of things that I think are just factual. All right. One, we know that Supreme has impacted culture at large, right? But how did they really build their hype over the last half decade at least? Maybe full decade. Yeah, probably a full decade, actually. How did they build their hype in your opinion? They were early influencer marketers using artists, I think so. Because I know probably the most famous first tie-in was with Tyler the Creator and the Gulf Wing crew. But I feel like that did a really good job of collaborations and tapping into artists and using them like influencers. There we go. The collaborations specifically, right? Now, using artists to build hype is one thing. But the collaborations, when you start doing this with all these other companies and sometimes other artists, I feel like when you start to build hype, but then you also start to lose your own brand identity. And I do feel like just from what I've seen as a Supreme now is like the logo can pop up on anything. The name can pop up on anything. And that's cool and novel at first. But then at some point, it begins to deteriorate things. And we always see this with brand extension, where let's just go to something like Fubu back in the 90s. All right, first is the shirt or whatever. And then you get the hats and you have your core line. But then next thing you know, you popping up on rulers and mugs and anything, right? You're not protecting your brand. It's first you're making way more money than you ever have before, right? And yeah, people can access who want to be a part of that brand. But now that brand doesn't have a specific way of communicating itself because it's just on anything. I'm not saying Supreme got that loose with it. But still, you know, now what are you following unless it's just a hype, right? Are you buying into a specific identity? Or are you buying into a name and what that name means to you? I don't know. I think I will argue that that might be where some of the spark dotted, right? Because early Supreme was kind of like cheeky in that regard. Like I'm sure everybody remembers the pile of bricks that they sold. And it was like, okay, it was almost like them flexing their stature at that point, where like, yo, we're so popping that we can sell niggas a pile of bricks. You know what I'm saying? Makes me think of that Drake line where he was like, I could sell like your girl a blank disc or something. It's about to flex. But then as time went on, they stopped doing as cheeky of items like that. You know what I'm saying? Like it's kind of a bit more tamed now, which is I think one of the things that I might have heard somebody in this clip say, where they don't feel like they're as like risk-taking as they once were. But we know that's more than likely due to the fact that now they have more obligations. Because we've talked about this on like the artist side, right? Like you see a lot of artists and creators in the beginning tend to be a lot more creative and less restricted because they really don't have anybody to answer to with themselves. But now you talk about, you know, 2013 Supreme, you know, this independent clothing brand from New York versus 2023 Supreme, which is a clothing brand under the Louis Vuitton house, I think, right? I think that's that. I think they are. I know. Yeah. But now we're talking about that's a whole different, you know what I'm saying? That's a different type of restriction. You know what I'm saying? And so, yeah, because even the stuff I see now, I still think I do cool pieces like in terms of like how it looks and stuff. But like I haven't seen to your point that that item that makes me think of old Supreme. And then to your other point about the collaborations, I think the collaborations used to be cool because it felt like watching, it felt like watching like you're grinding homey, like finally hit like a big platform. Now it's kind of like, all right. Like what brand wouldn't collab with Supreme, you know what I'm saying? So it's that name. Yeah, exactly. So now it's not as like back then when it would come up like, oh, you got, you got this brand. You got this brand. It's crazy. Like it was a testament to like how big of an impact that was starting to have in the culture. But now it's just like, all right, everybody clearly sees money in you. So of course you're going to be able to get these brands. That's exactly it. Right. They see money in you. So protecting your brand, you go from this. You go from the person on the come up and now it looks cool that you're even in a certain room. You're this underdog and people are happy to see that you made it. But then when people start to see you as an opportunity to make them look cool, right, they use you and eventually it starts to make you look less cool if you allow them to constantly use you in that way. It's like all these corporations trying to figure out, oh, how can we, I don't know, look like we care about X type of person, right? And then we all start using somebody who's in that category. And now it's like, are you legit now? Or are you just like a corporate, you know, this is corporate pandering. Yeah. Are you the representative of corporate pandering? Are you that sellout or whatever? Like that's where people can go with it. And it just doesn't feel as authentic. And then if you think about, well, actually, I want to start here before I go deeper into the brand management aspect. Because of what Supreme is, here's the beauty of impacting culture on this level. When you impact culture legitimately on a certain level, you do not die. You go through cycles and you're going to see this with whatever fashion house, not even just fashion houses, right? You're going to see the same thing with other brands in culture. If you look at champion starter, in the starter jackets, you're going to see all these waves. Because if anything, you're going to be able to rely on general nostalgia. And then you're going to be able to rely on sarcastic satirical nostalgia that ultimately still brings you back just as cool. Because those are the people who are trying to make fun of something and represent something. But then they end up inadvertently making it cool again anyway. Yeah, they made it hot on accident. Yeah. So as long as you make that impact, right, you're going to be able to be a reference point for a future joke or error reference that's going to bring you back to some level of prominence over again. Yeah. And we've seen it in that video a while. There were a couple of people in there that it's not dying. It represents something. I remember this. I remember that. So I was like, they're core fan bases strong enough at this point that they're going to always have that consistent customer base. And then, like you said, fashion moves and cycles. So it's very well that even if they experience a true fall-off, like 40, 50 years from now, some new influencer or artist would discover a vintage Supreme T and don it in the video. And just like that, they'd be right back. Right. I knew they weren't going away when I seen true religion come back. That's when I was like, all right, but true religion can come back, bro. Yeah. Right. Everybody's OK. Right. You know what I'm saying? Hey, man, we've seen all these different types of brands and I think, I mean, we've watched Air Force ones rise and then leave and come back. So in that sense, the brand dying or not. And no, right? Now, is it out of cycle? Probably in terms of its peak prominence and a period of being hot, just like an artist, right? You have your hot period, but if you made enough of an impact, or you can come back and you find that right hit, right? You find that right piece, you find that right song. It's there. So just buy your time and don't try to force it where you mess around and play yourself. And then you get put in time out even longer. Stop what you're doing. We've got to interrupt you to let you know you can win $20,000 by submitting your music to tolost.com slash collab for the crown. We're looking for the best songs and we're partner with tolost. So if you think you got some great music, if you think you got the goods, go to that site tolost.com slash collab for the crown. Check out the instructions for the contest. Win up to $20,000 and make sure you put in no label when you create your profile on tolost. So you can make sure you get three months completely free. That's tolost.com slash collab for the crown. And again, when you sign up, put in the code no label all one word and you will get three months completely free. Go in that $20,000 because you know you got the goods. You got the talent. You just got to make sure you submit. Peace. Now, with that being said, I think again, still the management aspect of things. All right. Yeah, you can't oversaturate yourself. But this is a business at the end of the day. So on that aspect, are we talking about dead? Are we talking about fall off? You got to say yes from a business standpoint because as much as a core fan might be like, well, yeah, the brand still means something. On the business side, you like, hey, man, I got to fire people. You know what I mean? Or I might have to file a bankruptcy or I might have to sell. Like, so we can't just look at the brand's relevance. And is that still there or not? We always do have to still at least consider from a business side what is dying or falling off look like. And on the inside, it might really feel like, hey, now we going through it right now because they're down 38 million dollars. And from an outside, a fan or a civilian or a consumer could just be like, well, that's not that much money. They made 500 something million, a 38 million. What's that? We're not just talking about your personal bank account. We're talking about business that has operational needs. You know what I mean? So it might be heard from that standpoint. And just like you, if you're dealing with issues with your brand, you're in a less hot period. You're like, oh snap, the money's not coming easily. I got to get my operations tighter. I was paying people and now it didn't seem like much. But now money's not coming in. I might have to fire buddy or X, Y, and Z. Let that blunt roller go. Got to let them go. Not to learn to roll your own or train somebody. I ain't going to say what I was going to say, but. So there are those two sides. And I think it's important to be aware of those two sides and not conflate them. You know that they're related. But you might say, okay, my brand's cool. My business isn't right because of the timing. Like my brand is out of cycle, but I do know my brand's good. I got real fans. I've checked these boxes. Now it's about how do I reintroduce, but how do I keep my business right in the meantime and not fall so prey to the business and personalize it so much to thinking it's holistic, like your brand and how people feel about you to the point that I mess up my brand for real. Chasing the business. Yeah, I agree with that because it's like when you're in that space, when your core is that tight and you are in a decline like that, it's like the only real way to not fuck it up is figure out how to maintain while also figuring out how to re-excite. It's like literally all you can do. It's like some people, some brands and artists even, you know what I'm saying? Figure out how to maintain and they never figure out how to re-excite, but like they're still okay. They just never become as hot as they were. And then we've seen artists that were able to maintain and then re-excite and then it's like shit go back to like it was when they were at their peak or they were as hot. And so I think there's just a little bit of what Supreme is going through is that, you know, they've switched demographics over the last like three, four years or so. You know, like off camera, we were talking, I was saying, you know, they came in as kind of like the king representative of underground counterculture. And then, you know, you ride that way to the top. You become the biggest representation of that. And then you get bought out by one of the biggest fashion houses in the world, which is almost anti what your initial message was. Bingo. I'm saying that you built people around. And so now you go from being a big fish in a small pond back to being a small fish in a big pond again, right? So I was like, hey, I can live imagine Louis Vuitton. Be like, hey, man, y'all, you know, you're killing in that street where, man, y'all ready to come over to the, you know, the real side of, you know, $2,000 t-shirts and you know what I'm saying, and $5,000 sneakers. And, you know, they took the challenge. They were up for it. But the thing I don't know if they thought about was if the fan base would keep up, you know? And like, so that's what I think of when I see the $38 million. I would need to go do a little more research, but I wonder, I think it might just be a result of a lot of the high end brand changes, just like finally catching up, you know what I'm saying? Brad, like, I mean, I think that's a real observation to keep in mind because not only are you repping a counterculture, financially the counterculture has a certain tax bracket. And as you start to rise, and then you do these collaborations with these expensive brands, right? These higher end brands. Again, it's cool because you have like the conflict. It's like, oh, Supreme doesn't belong here in this conversation. So it's like you invaded the room, but you spent so much time in that room. Oh snap. And now you wanted him? Yeah, you wanted him. You start sleeping around, all right? You start not wanting to come back home. All right, like what's going on? It's like that, what is that? Is it Brooklyn nights you ever seen? The Brooklyn nights where like Buddy in bed with, I forgot, oh girl, I think it's like sunshine or something. It's something. And then he like calls his wife in bed, like I ain't coming home. Like, yeah, oh my God, bro, that's the classic. That's not crazy. It's red fox, bro, that junk is hilarious. But I'm about to show you that junk. But it's like that type of thing. Now you no longer, all right, are one of us because you've been in that for so long and you've adopted a lot of new fans in doing that. And your old fans are looking at the new people hype you up and they're like, I don't even like this type of person. And it's kind of ruining the brand for you, all right? So now you have some level of conflict there, that's just naturally going to happen. You know, you should say, well, it should just be a brought to brand. You don't pay attention to the other people. Like you just like what you like. Do you like the clothes or not? But that's not how people really operate, especially around brands like this and how they rise. And a lot of times it's the same way for like an artist or anything that's impacting culture. Usually when you impact culture is because you galvanize a certain part of culture, right? Meaning you're going to speak to a certain identity within that culture. So I mean, once you start bringing in other people in the room and those other people don't necessarily reflect the other people in the room, then I don't know. Like I don't want to say the clock is ticking, but the clock is ticking towards something, not the end, but some line of people being this grown up and feel like you either sold out, right? Or you feel like now you need to do a high end collaboration for validation where before you were, it was like, oh, you did it with purpose and to fuck shit up. Now you're doing it for validation and you don't have any other offerings outside, which leads to the last point of contention. I saw the video we played, which somebody talked about a lack of creativity, all right? So what does that look like? I'm not going to get too deep in the creativity direction because I don't follow every single supreme piece in the world in collaboration they've done. But when your fans think you aren't creative anymore, is it because they've just heard you in the style and new shit you brought to the game enough? Or are you really in a creative rut? And that's something that the designer, the artist, has to kind of reconcile. Yeah, and that seems to make the comment too, right? I need to get new designers. I know they were cycling through different designers for the last couple of years, like three, four years or so. It's also that, right? Like the brand is going through this change, going from being more street to more corporate, which I'm assuming means that the main designer, because I want to say the guy that started supreme was the main designer of it. So now you're talking about like, all right, now he has to not only step into this role, I don't know his background like that. I want to say he came straight from skate culture. So it's like, you know, you talk about this street wear guy who designed these pieces and now he has to go learn how to play the corporate game, you know what I'm saying? And not only the corporate game, but the corporate game would, you know, one of the largest, if not the largest lifestyle, you know what I'm saying, conglomerate in the world. And so it's like, you know, obviously, there's going to be a hit to his creativity. Now I have to go try to find different people that can maintain excitement and creativity within the house that I built. Designs and ideas aren't resonating while we're also slowly pulling away from our core customer base and the new customer base. It's like, the way I see it is like, the old customer base no longer identifies with the new pieces and the new customer base doesn't, either doesn't, I won't say, okay, I probably do care, but doesn't identify with the history of it. And I feel like it's a weird, like crossroad to be caught in, you know what I'm saying? Because you know about it, but you don't really respect it like that. You know it and respect it, but you can't afford when I'm going in my new direction. You know what I'm saying? Like, what do I do? Who do I go back to? And it's like, you know, like I said, I go back to the obligations thing, which I think is what makes it a hard for them to just like hard pivot and go back. Because at first I thought, I was like, man, you know, I don't get why they wouldn't just like reuse their old playbook because their playbook could work today. Hey, let's make some outlandish items. So I also making sure that we curate some really well, put together pieces. Let's go tap into, you know, the new culturally hot artists and damn near, you know, rerun that play. And I was like, I wonder why they don't do that. You know what I'm saying? It feels so obvious, but then I was like, ah, probably doesn't align with the new brand direction that the Louis Vuitton house wants them to go in. And you still have to have the minds that are able to curate the right type of outlandish to connect, right? I also think most of what I've seen Supreme wise has set it up for this moment, right? Now brands go through cycles in general, but it's set up to have deeper highs and lows in general as well, because one is more, it's coming from streetwear, it's this bridge, right? Which is less consistent than a whole overall luxury house, right? A high, high, high end that's like really established, by the way, not like just new high end, because those are still volatile anyway. You got to last a couple of not only seasons, but eras, but Supreme's logo. I argue that the logo means more than it designs. I will argue you would have been right up until like three, four years ago. I think that era kind of died where the logo was more important than the piece. And what's happened in the last few years? Shit, been going the wrong direction. And that's a part of the problem, because if your logo is the thing people say, oh, I care about the look and the design, but they're not going to care the same amount with the logo, right? Because that's branding, that's what it does, right? So if you need the logo for the designs to be really valuable, then the designs are still secondary. Where there are some brands that, it's really the design, you know, you might only see the logo, the name of it on the tag. So Supreme fans, they can argue that I care about the look and the, but come on, at the core, you bought into the identity of the brand, which again is why it hurts so much when you go through these evolutions, because it really has a meaning. And it's not a bad thing, by the way, it's just two different ways of relating. I really like the design, like straight up, and it's not that some people didn't come in because of design at all, right? But I really like the design as one side, I really like just what it means and what it represents and how I experienced it. Like with the artists, I really just like their music, right? Or I really like what this artist says, like what they're about overall in their music just happens to make it better. It's two different ways and you can fall off or have a disconnect on either side and that can take a brand up or it can take a brand down. Yeah, no, I definitely agree, man. I just think they're in a weird crossroad. I think another thing I just kind of thought about on the spot is a large part of their strategy was inserting them into whatever the cool part of music culture currently is. And at that time, music culture was a lot more linear versus like now it's like how do you truly identify the what artists like really whole culture right now when the little entire argument in music right now is that no artist controls culture other than like a Drake or something, right? And it's like, you know, I feel like there's a reason we've probably never seen a Supreme and Drake allow, you know, either that bag too high, maybe some history, you know, Drake got the OVO thing. I don't know, but then it's like damn, so it's not as easy as it was in like 2013. It'd be like, okay, these four or five people clearly dominate culture right now. We can just go work for them. And so when it's such a large part of your strategy is built around that, I mean, you talk about that's 40% of the game plan going right there. And then, you know, they start off as a streetwear brand. And streetwear brands are typically supposed to be representative of like what? Like lower economic parts of the culture or wearing, right? Like, so it's a thing, you know, in layman's term, it's like, oh, this is the thing that like the poor kids make cool, you know what I'm saying? And it becomes a full fashion trend. Streetwear as a whole kind of left that, which is there's some people that observe that streetwear might be dying in some ways. Yeah, because this rebrand is like high-end streetwear. It's like, okay, I can go buy this, you know, $50 a pair of Dickies work pants where I can go pay $500 for like some Raf Simmons work pants. I can get the high-end streetwear or I can get the regular streetwear. This, everybody can walk in the Walmart and get this, you know what I'm saying? Only niggas that got it or are stupid, gonna get it. So I got a 50-50 chance of being okay. See, that's what I don't like about this era, man. Like, which I mean, you know, it is what it is. But for the most part, it seems like everybody dresses alike in a different way. Yeah. See, before when people were dressing, I like it was like this trend and everybody was buying into this specific zeitgeist in a way. But today, people act like they're doing different, but they're dressing alike. Yeah. That's the weird part about it. You got, because now you look at it, you're seeing from kids all the way to adults dressing the same. You don't even have age group outfits anymore. Yeah. I kind of like that though. I ain't gonna lie. Nah, I don't like it. Like, you know what I'm saying? Like, my kids ain't gonna be dressing cool. Not for a while at least, you know what I'm saying? They're gonna look like kids. But I like the fact that knowing like, man, if I hit 58 and I want to walk out the house in an Adidas track suit, like, I'm gonna be okay. Like, nobody gonna judge me for it. But I was like, if my granddad today walked out the house in an Adidas track suit, I'm gonna look at him a little funny. I ain't gonna lie. I'm like, play or play or whatever. Yeah, I'm like, granddad, you're not supposed to be dressing like that, bro. You know what I'm saying? Act your age. But I like to know that by the time. I get there, things are gonna be different. You know what I'm saying? I appreciate the comfortability and the freedom of it on our side, 100%. But at some point, you don't get the specific vibes anymore. Yeah, I think. It's all right. It's cultural globalism. Like, how you have cultural globalism, right? And that's affected everything. Yeah. It's fashion. We're just gonna use the term globalism or the breaking down of regions, all right? So you had regionalism within ages and other parts of cultures as well. Now that's gone. So in the same way, you would go back in the day and be like, oh, you have people in this side of the country, this side of the country, this side of the country have completely different music styles. And now it all starts to blend. And everybody's sounding like some version of the Migos, some version of Young Thug and everybody's doing, and people are doing drill and like, I don't know. Oklahoma and they got it from New York, like it's all molded together. So you don't get that clear distinction of where you from and culture. That's starting to happen with fashion. And I like stuff to be different, but appreciated versus is blended. That's my big thing. I would say, I don't think it's starting to happen. I think it's been happening for a while. Because I was actually thinking about that, as you said. Like I remember when I first went to college, and I learned to like phone posits where like a DMV thing, like niggas in the DMV love phone posits. And I've never really seen them like that. And to like, I think I probably seen them like the malls and stuff, but I've never really seen people wearing them until I moved to Virginia. And then, you know, that might be the last time I can think of a particular item being culturally relevant. I mean, I know now like they're like Afro beats artists that wear like the, I can't think of the hats, but it's kind of like the straw style, like bucket hats, like the wicker style, bucket hats. So I think a little bit more taught to Nigerian culture. They might be the closest to having something like that. I mean, that was the baklava and like the drill culture in the beginning, you know what I'm saying? Yeah. But then it's like now because of the internet, like, because I remember seeing this, it was some fashion trend, like Gen Z fashion trend that was going viral early in the year. I can't remember what it was like. I think it was like something like a key ring or something. But it was like this kid had the idea to do it. And then he made a tic-tac about it. And by the end of the week, like whatever it was, the item was like selling out of like home deposition. So it was like, now you talk about like, I mean, Supreme used to get, you know, flack for like, you know, how fast certain shit will move and go viral. Yeah. But even then, it still took like a couple months. You know what I'm saying? Like now you talk about like, I could have an idea on Monday. I could post this shit on Tuesday. By Saturday, it's viral and kids all over the world are looking for how to make it. And by Monday, Shen and Zara and Agent N already put that bitch on the shelf. That's what it is. It's a speed. You know, a lot of that start, you know, the internet music. I really pushed that. I mean, because even in the 90s, you look at the, what's the word, not important, the exporting of New York culture through hip hop. All right. You got people in the South wearing Tim's and things like that. Because of that, but that stuff only amplified and started to move faster and faster. And then that move, globalism increased. And like I said, operations for companies, that fast fashion thing is, it's crazy. Same, bro. Fast, fast enough, everybody. Because now it's like, man, I not only have to have a good idea, which is most of the battle, I have to now also be quicker to stabilizing the process of continually creating that good idea. And what does that mean for an artist? That's a good question, man. I ain't gonna lie. What does that mean for an artist? That means that it's not about who has the good idea or the talent first. It's about who can consistently maintain the environment to keep showcasing that talent. I like that. You know what I'm saying? Exhibit A would be somebody like a young thug. Yeah, great example. Where people started to do a lot of that similar style, but and he didn't go as high as quickly as some people wanted because he took some steps back, but he was able to keep getting out there with a consistent platform. And then when it hit, it hit, right? Versus, oh yeah, people saw you making a hot little song, everybody take the style, and then we never see you again. And that's when it's a problem. Yeah, I think, yeah, that's a great example. Because I've told artists before, man. I've been like, there is a 90% chance that there is another artist out there that sounds exactly like you do. And I'm not even talking about just sonically. Like there are literally some people out there who sound just like you like vocal tonality, all that like it'd be Spider-Man meme if y'all met each other. And so if you think about that, well, hey, there are two artists who like to rap about love. They both have great vocal styles. They both have great songwriting abilities, but they literally damn they sound identical. The race to being successful comes down to two things, right? It comes down to like I said, one, who can maintain long enough to be discovered by a majority of people? And then of course it comes down to who do majority of people discover first? Because the person that gets discovered second is going to get accused of buying the other person. Thanks. You know what I'm saying? And so it's like you're in this weird race against an invisible person that you don't know until it's too late. And then that's when you see the comments of artists like, oh man, I made a song just like that. He must have stole my song. They're like, yo bro took my whole style. I've been rapping like this since 2016. It's like, no, you know, I mean, I guess it's always a possibility that somebody saw you and took your style. But what more than likely happened is there was another person with the same idea, same amount of drive, ambition, hustle, with all the other stuff you could throw into it. But they made one move smarter than you that allowed them to be perceived as that thing first. And then the whole tide just started to flip to their side. And then like I said, if you're the second person, everybody just assumes you copy in the person that they learned about first. And so I think that's the issue that the music art is definitely, if you don't know you're dealing with it, you're definitely dealing with it. You know what I'm saying? Because artists tend to stand their own bubble. So to them, they are the only one that sounds like this or is doing this. And then to music consumers or people in the music business, you're like, nah, you like the eighth motherfucker? Today I don't heard that sounds like this, you know what I'm saying? And then to your point, yeah, I think fast fashion definitely brought that trend into fashion because it's literally the same thing. Like, all right, it's not about who has the idea. First is who can put the idea out and get it to the most amount of people the fastest. So when you sit in another clothing brand, you're like, oh, they stole this from XYZ brand. What I think about when I hear this is for artists, many people, but especially for artists, don't be DaVinci. Okay. You know what I mean by that? No, I don't. Now DaVinci was a genius, right? Historically, they say he invented parachutes. He basically invented some version of an airplane. He made parachutes. A diving suit, huh? He made parachutes. Yeah, DaVinci was so prolific as an artist, as a scientist, like as an inventor as a whole. He's done all these things. Yet at the same time, DaVinci, from what I understand to be true, had almost zero impact on history in the way he should have based on his inventions. Why is that? Because he invented all these things, right? But he didn't influence people with these things. Yeah. People found his inventions after the effect. So imagine if you invented the airplane, but then, I don't know, these other guys end up inventing the airplane as well. People start flying airplanes, and then we're going through, I'm just making this part up. This is not what actually happened, so don't try to get all historical on me, people, and be like, this is not exactly, but for a scenario, we're going through some old files or whatever, and then we find out, oh shit, this man, Jacory invented an airplane like 30 years before the airplane came out. Crazy. It was like, technically, did you do it first? Yes. But because we never even knew you did it, you had zero impact on the outcome of the actual history. Yeah, I agree. And the, I don't think it's sad, but it might be sad to some people. So the sad reality is, people don't care. Of course not. To your point, people care about like, all right, where do I get the most benefit from in this acknowledgement? Probably acknowledging the side of it that everybody else already knows about. And it's also conforming to, versus me trying to be this new voice and speak up for Jacory in this case. It's like, oh, I could go out and fight the case for him, or I could just step to the side of like, hey man, they're playing that the right brother made. That was all right with me, you know what I'm saying? And then just, like you said, it's a cultural thing. I can talk to these people about it. They care about this. They don't really care about that. And because nobody cares about that part, because we've all heard something creative and something claimed to be the first to do something. You know what I'm saying? Like, I'm sure our generation isn't the first to go through that. I mean, we've seen Lil' Richard talk about that for years, but here's the difference. Lil' Richard did something and truly influenced people, and he was actually the beginning of a tree. Yeah. It's a whole another thing for you to be, let's just say you're the seed over here, but there's a whole another tree that grows over there. And this stuff, this is not fruit of your labor. It might be the same seed, but it's not your seed, and someone else grew a full-blown tree, and your seed isn't even nourished, because you didn't get the attention. So you actually do not have an influence. It doesn't matter that you did it first, because we got here without your influence. Yeah, that's a good point actually. You don't get attention, that's what it looks like. It's like I saw you growing that tree over there the whole time, you know, but like you said... No, I didn't see you growing that tree. That's what the fuck it is. Actually, yeah, that's a good point, yeah. And that's the example, yeah. So it's like, oh man, like, because even, this was funny when people make it hit, it's like when you get there, you understand it. And you're like, oh, it makes sense to me that you also learned about apple trees and started, you know, growing apple trees. Like I couldn't be the only person in the world that thought that growing this apple tree would be a good idea, but for whatever reason, motherfuckers like my apple tree, man. I ain't about to stop what I'm doing just because you was the first one to plant the seed on the block. Like that's crazy. Like one, you got the prude out of me. Yep. And two, nobody cares. Exactly. Let's leave it right there. That's the end of another episode. Drop it in comments. If let us know what y'all think on this discussion and watch another video or listen to another podcast if you listen to our audio. Peace y'all. Peace.