 He had people pay him up to $2,500 for that album. He ended up making like 150,000 in sales in the first week off that album. You know, the album streaming wise didn't really do anything spectacular. Like Larusso, well, he hadn't put out a studio project or work. Like he was doing like, you know, recording outside live shows. Like he was everything. I swear to God, every time this man put put his lips to a mic, he records and he sells it. You know what I mean? It don't matter what it is. You know what I mean? Everything's for sale. Everything's for sale. Right. And that's great. You know what I mean? But he up until that point of his explosion, he hadn't put out a studio body of work. You know what I mean? And so at the time, I knew of a platform called even. So even is was a brand new platform that hadn't even launched yet. You know what I mean? We ended up launching the platform with Larusso as the first drop. But I knew they had built this platform to sell music. You know what I mean? Because they knew that director consumer was about to come back. So they built this platform to sell music and of course sell music and access right to to the artist. And so I told the rest. I said, you know, I know some people I think you should talk to them. You know what I mean? So I connected them and he was selling. He was selling what do you call shares of his music already? Like he was all right. He was already about that life just to keep it simple. He's already about that life. So all I did was connect him with a platform to help him continue to do what he was already doing. You know what I mean? So his community was well-primed. It ain't like this is oh, I'm all of a sudden out of nowhere going to sell y'all something. They have been purchasing from him. So he had already built a strong fan base that was used to support him in that way. You know what I mean? But this was just his first studio body of work. And a long story short, we we connected with even we put it together. And we dropped we dropped the project on even a week. I want to say a week before it dropped on DSPs before it streamed. You know what I mean? And so over that week span, I want to say the first day he sold a thousand copies by like the second day was at 2,500 copies. And in total end up selling 4,000 copies. But he had already come up with this structure called, you know, pay what you want. Yeah. And so basically what that means is you can give me $10. You give me $100. You give me $2,500. Whatever you feel like this art is worth to you. That's what I'll accept. You know what I mean? Pay me what you want for this art. And man, it's freaking brilliant. You know what I mean? Because the Russell is so special because it's not just about music. He stands on values. And when I tell artists when you when you say something, everybody says they're independent and they love independent, they want to be independent, but saying it and actually doing it in practice. It's two different things. And so everything he had been doing up to that point was the practice of selling his art versus streaming. You know what I mean? And so that ended up paying off big time because he had people pay him up to $2,500 for that album. He ended up making like 150,000 in sales in the first week off that album. You know, the album streaming wise didn't really do anything spectacular. He was on the charts and stuff like that because he had become a name at that point, but nothing comparable to the one week of sales he did with that project. And he turned around and sold another one like three weeks later that that did like 20,000 the first week or something like that. You know what I mean? And so I mean, that dude was phenomenal. That's an important deal because like we talk about all the time looking at all these different metrics that artists go by and you just said like didn't do crazy streaming. I think currently his monthly listens are somewhere in like 300,000 300,000 his name and the marketing behemoth he is. Yeah, I like it. Laura. So you are a marketing behemoth. I like that. I like that. He and he's someone who truly has a media company. Yeah, exactly. And how he's moving. He's able to do numbers and connect with people and make that amount of money. Who's making that much money from streaming? Not a lot of not a hundred fifty a week, especially not that. Yeah. All right. Especially Indy, you the ones who are doing those numbers still got to bust it down to somebody else. So it takes I don't know how many is probably artists with a hundred million streams that are barely making that kind of money. No, they definitely not, man. They definitely not. But I mean, I think that he's opening the door for all artists to be able to do that. You know what I mean? Like he's a big catalyst in the director consumer coming back, you know, because that's that's what CDs were. Right. You know what I mean? Um, ten dollars. Now, of course, even back then, unless you were independent, you weren't getting the bulk of that. But now it's space for everybody to be independent. And so even if you go out and sell your album for ten dollars, bro, you making way more than you make on streaming by far. That's true. You know what I mean? And so even if just ten dollars sell, you making way more. What are kind of like the first couple of things you start building towards with the arts in terms of being able to make revenue back? Well, you always got to start with that that limited. You know what I mean? You always have to start there because if you don't have, you know, a strong fan base in your building and you get your your first hundred fans in your community, like you get your first hundred people on this court and obviously you got to be active with it because you can have a hundred people and only 30 show up. But that that comes because you are active. You know what I mean? So if you active inside that hundred person community and you have majority of them showing up, I can sell you 10 things. I can say, hey, man, you know, there's only ten of these, you know, I'm selling them for twenty dollars and you just condition them to understand like I need your support and they'll be very happy because they want to be like I was here first. Like this was her first drop. You know what I'm saying? Like and so it's just about it's just about keeping it limited and keeping it important to you because you can't just put your your logo on a shirt and call it merch. You know what I mean? Like you got to show them like this means something to me because that's that's the only way to mean something to them. You know what I mean? So just thinking like, you know, what really matters to me? What do I identify with that I can make, you know, a product? You know what I mean? And then let me let me this month I'm going to sell ten next month. I may sell twenty community grows. Okay. Now I sell a hundred of them and this could be literally how you pay your bills. Yeah. You know what I'm saying? So it's like because I'm on selling a limit number, I don't have to sell this t-shirt for what people are used to buying used to paying twenty, but I can sell it for a lot more because they know like this this is this is super important. I'm not just selling you a t-shirt. You know what I'm saying? So the importance and the values that you put on the product is going to grow the price of it. 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. Armiqui to break down how he took an artist from zero to one of the biggest hit songs of twenty twenty two and getting a Grammy in January of twenty twenty three. 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. Armiqui 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. And that's the crazy part about you said a lot of a lot of things right because you talked about his audience was prime for it. Yeah. So we built a relationship that we can exchange in this way. You're used to paying me money for things. Yeah. Not a certain amount, but at least you're used to paying me five dollars at a time. Right. That I need to be supported and all the messaging that requires someone to be used to selling from buying from you. You already had to establish. So his relationship was there, but then his message, you go back to them values are very strong, very clear and he repeats them over and over. He stands on. He practiced them. I asked when they say stand on is like he did it in practical ways. You're not just saying it. You see him practically doing. He's practicing what he's preaching. Yeah. You know what I mean? And so that's that's why, you know, he gets resonated with so well. Yeah. You know what I mean? But we shifted from. This is the only way you can get this music, right? The CDs albums and all that stuff to streaming music is free. But now it's not the only way you can get this music, but people want to access the music through things where we pay you money. Yeah. The music is free, but we want to. But now we're doing it by choice, which means you definitely have to give us a reason to do it. Right. There you go. There you go. You absolutely right about that. It's an interesting landscape, man, but I think that's going to be always say there's these artists that feel like I wish it was like, let's just say the 90s or whatever. Well, they didn't have to create all this content. Da, da, da, da. But it's like, well, if you look at the 2000s, you look at the 90s, every single error, there is an artist that has a gripe with the way the way is done. Error, right? Yeah. And every error lends towards artists who might be naturally more strong in a certain skill set. You might be crazy writing game or back in the day, the ones who could sing, sing, sing. Yeah. Right. Advantage versus the ones who are now like auto-tuned and they can't sing. Right? So there's every error has its own advantages. Music isn't supposed to win in one specific way or another. That's just the error. That doesn't mean anything to do anything. Yes. Like I said, you got to make it shake. You got to do, you got to do what you have to do. You know what I mean? If this is what you want, then this is what you have to do. You know? And so that's just, that just is what it is, man. And so, but I think exactly like no matter what error you were in, if you're the type of person who's complaining about content, you would have been complaining about touring. You would have been complaining about doing radio shows. You would have found something to complain about. You know what I mean? That's, that's just part of the mentality. That's why you had to change your mindset if you want to win. Yeah. Like, and it's so funny when you go through enough history, you always see a lot of these elements at work. Right? I was listening to the audio book of Will Smith's book, maybe back in like earlier, last year or something. And image as Jeff were doing this thing where there was a phone line or people would call in and they were paying something like a dollar, a minute or something. And maybe it was more expensive after that, but he was making like $10,000 a day because people call to hear their voicemail. So like, you know, Will wasn't actually on the line, but they had like a message that they were leaving for their fans and we're going on our tour. And hey, this is an update of Howard and you just giving them this thing to tap into. Yeah. All that stuff is listed. I like that. There's actually some, a way you can do that now. Really? So there's a company called Logcast, L-O-G Cast, Logcast and they have a partnership with Spotify. And so basically you can set up a subscription. You know what I mean? So if they were paying a dollar per message, you know, you can charge a dollar subscription however you want to do it. You can charge whatever you want, but it's subscription based, right? And what you can do is you can leave those voice notes into the upload to Spotify immediately. You know what I mean? And so, you know, upload a song to Spotify takes two, three days. But the voice notes upload immediately. And so, the same way they can come to your Spotify page and see your music, they can also come to your Spotify page and see the voice notes. And you can charge whatever you want. You can make it free if you want. You can charge whatever you want. So you can basically run that same play through Logcast and Spotify. So, but the way you just explained it gave me a great idea of how I can have my artist input. Because I see the tool, I just didn't know the best way to implement it and that's a really good way. Yeah. That's great. That one point you just made because all these tools out there. Yeah. But how do you use the tools? Yeah. Like a lot of the artists on the come up, the indie artists, I feel like they get inundated with all these new tools. Right. All these different things. And you feel like I got to use this one. I got to use this one. Don't fall for all of their marketing. Like find the ones that you can figure out a way that makes sense for you. Yeah. And then leave it on the table if it don't make sense at the moment. Right. Yeah.