 And this is the biggest thing, save your money versus just throwing out this little bit to a bit here, this little bit to a bit here. You're better off as opposed to just spending $5 a day, which is a cool strategy on the back end, right? Like have that one thing going, but I'm just saying if that's your entire budget, right? You're better off as opposed to just slowly dripping out and bringing that small awareness instead, like saving up $10,000 or $1,000, whatever that number is for you, building a strategy on it and actually launching, right, figuring out, oh, I'm going to, I want to take this one song. All right, we felt, we focused on too much, too many parts of our brain and parts of our music. Let me just get this one song and in this short period of time, one, I'm going to pitch it on Spotify's playlist. It means it can't be out yet, right? If I do that, right? And then two, I'm going to pitch to be on other playlists at this same period of time. If I can land multiple of those really close to the day it drops, then I'm going to get an influx of traffic and I'm going to encourage my audience if I already have fans. Some people don't have this, but the people who have some fans, right, even as the homies or whatever, I'm going to encourage them to listen in a short period of time because I want to be able to leverage those triggers on, not Instagram, Spotify, all right? So, leverage those triggers, oh, they see that you're getting a lot of traffic and positive listens in a short period of time. You catch one of those playlists and now you're activating the organic because the whole purpose of marketing artificial activity is to create organic activity. If you're always leveraging, if you only can access your fan base or their pitch potential fans through artificial, then your shit is expensive as hell and it's not sustainable, right? You need your activity, just like you put out $1, you want to bring back $20, right? You don't want to, even if you break even, you don't want to spend your life putting out a dollar and getting back a dollar because you're in the same place. You want to get something back, so if your stuff isn't creating organic traffic that comes back, whether that's improper audience targeting, bad content, right? It's a real thing. Bad content does exist, guys. And even just bad playlist choices, right? Bad placements. If you have those things, that's going to take away from the possibility of organic traffic coming back. So the way, once again, right? So we have those levels. We want to leverage the ability to save money so we can do as much as we can within a window, but even if you find success, we want to work that as an indie artist, particularly for as long as possible. So maybe your campaign did run out because you only had 1K and you're done. But it showed that it was promising. We need to be able to recognize and be true with ourselves that some of these things aren't really popping like that. It didn't get the feedback that I thought, but this one right here is getting a little bit more and it's working. I ran an ad and then people start saying, yo, man, I'm glad I saw this on an ad. This is dope, right? Once you get to that point, that means I need to be running that ad for like six months. I need to try to do that. And then we can kind of consider, oh, whenever I get $50, I'm going to keep putting it back in versus trying to save up to one point. So it's two phases with your money. Build up, launch, give it as much energy as possible, take the feedback and make the decision to either move on or double down and that doubling down will either look like just creating an evergreen almost campaign, just keeping and dripping attention as much as you can when you can. But if possible, getting a bigger launch on the back end. Yeah, and I want to add an additional point to spending your money on a specific song or sort of a philosophical point, which is spending money on a song or even when you're in the studio recording it, knowing that you already know I'm going to spend a thousand on this song. I think it'll really put your money where your mouth is because a lot of artists, they make songs and then they sort of retroactively decide is this worth spending on? And so what's happening is you as a songwriter, you're not necessarily taking the song as seriously as possible. Right. Just to use an example as a teacher or as a YouTuber, I do a lot of things with hiring writers or hiring editors knowing that I'm going to feel the pain if they mess up or if the article or whatever is not going to work because I'm putting money into this and just even internally, if there's a mistake or if I was lazy or the writer was lazy, I'm going to take it more seriously the next time, whether that's the sign to fire them or being like, bro, you've got to proofread this thing because I'm paying for this. Artists need to kind of flip that on their head as well. If I know when I'm in that studio writing that song, this is going to be a thousand dollars put into this, I'm going to take a little bit more time to make sure that hook is really banging, that the bars, if I'm more lyrical based, that that punchline is really where it's at. So I think from a philosophical standpoint, having to spend money and spending money on your career just to know that you really trust this is the one. I think that that's something that's underrated, man. You know, a lot of times I'm seeing these artists that are just like, no, this is the hit right here, this is the hit. And I'm like, well, how do you know? I mean, like you said, the homies just mess it with it. I'm like, OK, if you really think it's the hit, put a thousand dollars into it. I mean, oh, I mean, this is hot, but you know what I mean? That's where the change comes. That's real. That's real. I always say, man, people need to spend more time on the actual creative like we've gotten to this point where we think, oh, well, let me just get a 4K video. It's a hot quality. Right. Let me just get this to look like this and put and buy some new clothes and think that this is going to make the video poppin. But the thing is like quality videos have been commoditized. Right. There's a lot of quality videos. People expect quality videos so much so that non quality videos break through at times. Right. Like we're not in that marketplace anymore where people didn't have access to the high quality cameras and things like that. So what does that mean? This is good because it puts the onus back on the artist to have actual creative. We spend time. We create these concepts and all right, let's put this out. Let's do the video like that. But OK, that's a cool video. Cool doesn't do anything. Right. We need something that's better than cool, right? Cooler than cool, as Andre said, right? Because that's the stuff that's remarkable. I always go back to that the purple cow type phrase remarkable. And things that are remarkable, people wonder, oh, why does this blow up? And it's not good, right? You either have things that are amazingly like amazing or you have things that are trash and worth talking about. Right. They're both worth talking about. Nobody talks about the stuff in the between. If it's so bad, you like, yo, how many times have you said, bro, this dude sucks or like, check this out or like this video is crazy. Like, like, you know what I mean? Like people when American Idol launched of one of people's favorite part about it was watching the bad singers, right? Because it was a creating conversation worth talking about. So that's why some portions of bad content does move because it's about creating conversation, creating emotions, whatever that emotion might be. Then on the other end, you can do the positive version of that. I have some great content, but it has to be still worth talking about. What emotion are you trying to trigger when you drop this content and sometimes, well, pretty much all the time, it's after that you have that foundation. OK, you had a cool idea. Now let's step back. Let's become objective about it and what makes this something like what makes it something worth talking about? What makes this really interesting? Not just because it was in a cinematic shot video and you told a story. Yes, you told the story. That's good. You have a video that actually some people's songs, they have a story. You didn't want to tell that specific story. OK, cool. You got the baseline story. Now, what's the thing that's going to make it worth viewing like TV? That's what they have to do. They have to put these elements of suspense and things like that. You're no different. It's all content. Newsflash, none of this stuff is it's different. We don't there is like as a consumer. Yes, we get told these are different formats. And I like doing this versus that, but it's all just content, whether I'm watching a commercial, whether I'm watching this interview, whether I'm watching a movie at the movie theater, big screen, whether I'm watching reality TV show or I'm watching like my own videos, like just scrolling through my own phone, right? The guy so much so a dude. I think this might have been Ogilvy. This is like back in the 1970s, back when TV was the thing, right? TV was this Instagram, this this all these YouTube, all these social media platforms. And he was saying if a commercial isn't interesting and worth watching without the sound, then it's not a good commercial, right? Well, that applies today. Like these elements do not change. At the end of the day, we're just watching and consuming. It's is it interesting or is it not? Does it hold my attention? Does it not? Simple question. You know what to do. Hit that subscribe button.