I've never been anti-major label either is Russ. We've just always been anti-exploitation and anti-bad deals. Your neighbor could try to sign you to a bad deal. You know what I'm saying? Your neighborhood weed man could try to start a record label. He could have a bad deal for you. So I'm not, I'm not, I'm not against. I'm not against majors. I'm against bad deals. I don't care where they come from. We can come from the weed man next door, trying to sign you and start his label up or it can come from the CEO of Universal or whatever. If it's a bad deal, it's a bad deal. What's up? What's up? What's up? I'm Brand Man Shot. And I'm Corey. And we are back with another episode of No Labels, Necessary Pie-Cas here at the intersection of creativity and currency with a special guest. We have Bugus, an artist, producer. What's up? What's up? Whoa, whoa, whoa. Let me, let me give him, give him the action. Producer, artist, screenwriter, co-founder of Diamond Record Label along with Russ. Y'all have signed artists successfully and stuff we're going to get into. You've been in the game for a minute, a good minute and been successful for a good minute. So, like, this is why we have you, bruh. Now y'all can re-interrupt me, but not for real, for real. Bugus, appreciate having you on, man. Thank you. I'm glad to be here. And, like, the place I want to start with you, bruh, is, like, your music is, like, there's a lot about money in your music. Is there really? I was listening through, like, just, like, a rehash because I thought about what I heard just here and there over the years and I was, like, let me go do a deeper dive. Right, right, right. And, but you also, you know, have a good about women as well. Got you. So, just as an artist, right, just starting there because that's the root of all this, right, from what I'm aware and getting into this space. Like, what's your inspiration as an artist or creative in general? Me personally, I would say just to make great music. That's one of my main inspirations. But, obviously, we live in the real world. You need to make money. You need to have money, life without, me and my brother was talking about this the other day. The world is a very rough place for an unsuccessful man. You know what I'm saying? So, you have to be successful as a man. You have to have money. So, to dance around that and act like it's not real is just, it's not being in reality, bruh. You need to make money out here. Simply put. That's a beautiful place, man, to kick things off because as an artist, that's what artists struggle so much with in general, you know what I mean? Yeah, it's, I feel like, I saw a Jay-Z interview one time he was talking about it and I feel the same way. I feel like the mindset that like you being money-minded means you're less of an artist or any of that stuff. That's just some gas to hit you with so you don't think like you should be money-minded as a man in America or on this planet, period. So, if you're not a money-minded man, good luck. You know what I mean? Unless you're just blessed, maybe you just come from like a very, very wealthy family. You don't have to be money-minded, but not out of 10 people. You need to have some type of financial awareness and financial responsibility and money's important. When did you get this mentality? Was it a pre-artist mentality or was there a moment in your career where it just kind of clicked? No, I've always been into money. I've always been like that. Since I was a kid, anything I wanted, I would see how expensive it was and then try to reverse engineer how I can get that. How can I get that? I remember just some of my earliest memories of wanting a go-kart as a kid. You see him in the store at Walmart or whatever. Back then, this is like the late 90s, early 2000s. They're like 1800 for a four-wheeler, stuff like that. So, since then, I've always wanted to just make money and have my own money for the simple route of just being able to buy what I want. So, I've been like that since I was a kid to answer your question, yeah. So, you know, I'm sure you've been around a lot of artists, right? What are the conversations that you have with the, let's say the peers' artists, right? Because I feel like that's kind of, you were alluding to, like it's a weird divide in music where, and we've talked about it before, where sometimes it's like, struggle side of it is so, like, so glamorized. Yeah. There are artists who sometimes were just, what's the best word? Like, I'm most resentful of the other side of artists that look like they have resources that maybe build something. Yup, yeah. And they don't get things moving. So, I'm sure you've come across artists like that, what are the conversations, what are those conversations like? So, you mean in terms of like, what, somebody just being jealous of you or? Just the idea, right, of having this conversation of you can be both. Yeah. Like, and you should be both.  You should be both. I feel like the best artists in the world are, maybe not centrally focused on money, but are money-minded at some level. You know, Michael Jackson bought the Beatles catalog for a reason. Yup. That was a financially aware decision. You know what I mean? He was looking at how much money he had. He understood assets and liabilities and was like, this is an asset. If I can, he bought, I think he bought like half of Sony ATV, half of the publishing company and the Beatles catalog fell under that. Yup. So, that's a money move. So, he clearly understood money. You know what I mean? Like, he understood the importance of money.  Like, you know how they just want artists to just be like, oh, all he can do is paint.  Like...  Exactly.  I don't think that serves an artist well and I don't think the best artists are those kind of... So, let me take that back. Go ahead. You can make great R&B like that. I don't think you're going to have the best career without having some type of financial awareness. Okay, so actually... You could be a great public Picasso artist, but... So, all right, let's stop there for a second actually. I was going to go ahead and do something else, but that just made me think, right? Why... If you want a career, you have to think about money and you have to think about people, right? Like, the fans have to come in to play at some point because they become a customer at the end of the day. You can create music and just leave it in the house. If you just say, I'll just care about the art, I feel like it's dishonest to even desire this career, desire all these fans, right? It's either dishonest or entitled to say I want all this, but also, yeah, I don't want to create music for anybody but myself and only think about myself. You know what I mean? Yeah, exactly. Exactly, and like you said, your stuff can just stay on your laptop, stay in your basement, but the second you put it out into the world, if you want to do this for a living, you need to be thinking about money. If you want to do it for a living, if you want it to be a hobby, then yeah, it doesn't matter what it does when it drops. It doesn't matter if it sells well or streams well and you don't ever have to think about money. Just keep it as a hobby. But the second you're trying to live off of what you just recorded, you need to have some type of money mindset because it's going to cost you money to make the song and then you also need to think about how you're going to make at least the money you spent recording back. For sure. At least, unless like I said, you're in just a unique situation where money's not an object. Because we're in this label, I mean, not this label like money area, I do want to just skip to the label stuff for a second because at one point, no, not one point. Your very first artist that you signed was LaRussell, which he's definitely about the money, not about the artist. Well, of course, but he understands his value and that's like front end of his conversation at all times, right? And you had a quote in an article and I had to make sure I took this because you're an artist saying this to other artists, right? You said that we don't want to have to chase you around and beg you to come to the studio. We want the kind of artists that we need to pull out of the studio and be like, all right, bro, you've done five songs, take a break. Right. Where does that quote even come from? Like there had to be something that made you say that you might have been seeing. Yeah, because I've seen a lot of talent go to waste just because somebody's talented. It doesn't mean they're going to like actually work at it because I guess sometimes if you're very talented or very gifted, let's say you're just born with a beautiful voice, you kind of feel as if sometimes you feel as if you don't have to work at it because it was given to you. You're just born with this voice. But I've realized that like the hunger is easily probably, I won't say it's more important than talent, but right after being talented, you need to be hungry. You need to want it. You need to have desire and you need to want it simply because what you're trying to accomplish is challenging enough that if you don't have a real drive and a real burning desire for achieving it, the journey is so obstacle filled that if you don't have a burning desire to get it, you're going to just stop because there's so many obstacles in between point A and point Z that the only thing that can get you through that obstacle course is a burning desire, not talent. I want to drop a quick note for anybody who has a fan problem and not just any old fan problem, but the type of fan problem that we encountered after helping a lot of artists go viral, have a lot of success, get a lot of streams, but still not being able to know who exactly are my fans? How do I reach them? How do I actually leverage that to excel merch? Go to a show because that's where Spotify leaves us without knowing who our real people are. Same for social media. If you've had this problem, I'll tell you how we've been solving it and our agency for a while now in the pro version is just now being released to be accessible to any artist or manager out there. I'm talking about forever fan. A lot of the campaigns and successes that y'all have heard us talk about on this channel have been powered by that software that's made finding and understanding your true fans simple so they support you with their pockets because we all need a little money in this music thing. And now they're making it available to our audience for only one dollar at foreverfanmusic.com slash no labels, no labels with an S at the end and you got to put in the code, no labels, zero two. All right. Now look the DSPs, the social media platforms, I think they've shown us how much they care about artists for a while now. So at this point we can all play naive or actually do something about it. Bet on yourself at foreverfanmusic.com slash no labels. And again, put in the code, no labels, zero two to get initial access for only one dollar. Let's get back to this episode. The way you form at it, your label, I read, like I think y'all say y'all participate in profit sharing but you don't do anything from the touring. They own their masters. They own their publishing. And after I read through everything, it was just like, why not just from a sense of fairness but I'm thinking about you're still pretty young. Yeah. All right. You rarely see artists start a label this early in their career, let alone have some success to go along with it. But like, and then also someone who is currently successful, like do something that's in some sense altruistic, right? Yeah, like y'all are giving away a lot of game. Y'all are giving away like very fair deals and becoming a resource. Like why do that so early in the game versus like wait to later on? As far as start the label or be fair with the label or both? Both. Both? Okay. So as far as starting a label, I tell artists all the time, you need to strike when the iron's hot. Like while you have attention, while you have eyeballs, show us what you got. Like don't wait to start your liquor company 12 years after your last album. That's just not going to sell as well. This is common sense. So step one, you start, we started it because the iron's hot. This is the best time to strike. You don't strike when you're six seasons out of the league and you're not trying to talk to people. It's like, no. You see NBA players have podcasts now? Yeah. They're going to be hot right now because they're currently hot. If they wait till retirement year seven and then they try to start it, it's like, eh, I'd rather watch, eh man, I'd rather watch Anthony Edwards. You know what I'm saying? It's like, if he has a podcast, I'd rather watch it, you're washed. So it's like, start it while you're hot.  But if you put out that book right after your first album, it's clear that like 50 cents, you know what I mean? Like he put out his book from pieces to wait and he put out his movie. He put out his video game. He put out all this stuff right after get what you die trying was going crazy. So it feels about, it feels like it's making the success bigger versus I'm trying to find another way because I'm on the way down. Exactly. Exactly. So you strike when the iron's hot and they're all simply going to sell better because you're hot.  So you sell it when you're hot is going to sell better. So that's step one. And then two, the reason to be fair is because one, it's just the right thing to do. That's one reason to, you know, do fair business and two, you know, we just believe in the fairness, but also it's like, we don't want to be those people that we dislike. You know what I mean? Like you don't want to turn around.  You know what I'm saying?  And as soon as you, as soon as you could do it, you do the same thing that the oppressor did. You know what I mean? So it's like, we don't want to be the very same people that we talk about in a negative way. So with an artist like LaRussell being one of the first signees, did you guys feel pressure to sign an artist with that type of mentality? You know, the ones that are looking to be outside of the more traditional industry box, like, do you guys feel that pressure from a brand perspective? No, so with LaRussell, Russ showed me LaRussell and he was, he's the one who brought it like in and everything. So I saw it and it's good. LaRussell's mindset is great, but every artist doesn't necessarily have to have that mindset. He's just advanced in his own thinking and he's a great artist on top of that. So now I don't feel a pressure to like only sign people who have that kind of mindset. If you could have a very traditional mindset with things, as long as your music is great, which is step one and you have some motion, it's like, yeah, we could, we could definitely work together. So it's just more about providing resources in a fair way from wherever they are and whatever their game plan is. Yeah, yeah, exactly. It's like, if you want to do things in an unorthodox method like LaRussell, you're more than free to, but if you want to do things in a very traditional sense, you're more than welcome to as well. It's just more so we're looking just for like people who make great music, step one, and then people who have that hunger attached to it too. Like Caitlyn, Caitlyn had over a million followers on TikTok already. You know, so there was a proof of concept already there.   Every TikTok is this girl rapping, like every TikTok, every row, all the way down for like a year is 300 TikToks of this girl rapping. So it's like, oh, she's hungry. She wants this. I say it all the time. You know, I know Russ feels the same way. We kind of, we want to work with people who it's clear this kid's going to make it with or without us. Like that's where that quote came from. I don't want to, I don't want to work with somebody who I got to be like, hey, bro, all right, man, it's Thursday. I haven't been in the studio since month or since like last week, I'd rather work with the kind of person who I see has motion. They're already going after their dreams. They're not waiting on anybody. They're going to get there with or without us. That's why I'd rather work with. I'm just so glad you said that because I feel like that mentality, at least a lot of times in the indie community is demonized because it seems like an industry or the industry mentality, right? I know labels have been accused of let's say major label not developing artists. They're normally already picking up people who we already see moving. You're someone that's not, you know, not only at the forefront of the indie wave, but also has success with other artists who are doing things in an indie way or using certain indie concept and other non-traditional ways. And even you're saying like, no, yeah, it's good to see proof of concept. You know what I'm saying? Yeah, yeah. Have some motion because in this era, there's no excuse to not have like this. Even if you don't have the numbers to back it up, we should see the effort. Yeah. You know what I'm saying?  You have six songs. No, thanks, bro. I'm not interested. The effort is not there. You know, like, if you've been rapping for five years and you have 200 songs but they all have under 5,000 plays, okay, your numbers aren't great, but you have, you're putting up shots. You're working. It's a matter of time till you get, you're going to strike because you keep swinging. It's a matter of time till you hit a home run. You know, so I'd rather work with somebody who I see is making the efforts. They might not be getting the big numbers, but this kid is trying. You know what I mean?  It's not going to happen. Yeah, cause as he said, they demonized that but I always think about it as a person. Just like you said, being money-minded as a man, all right, like, why would you not be that outside of music? Yeah. All right. As a person, why would I want to work with somebody who's lazy or why would I want to work with somebody who isn't putting in that effort where a lot of people, so on the artist side, you'll, people will complain, well, I could have made it without you, right? That's what they will say. But it's like, well, yeah, that's part of why I'm working together on and they look at that as like maybe leaching. But from someone who's already successful, I look at it as I want to keep my momentum, right? Right. All right. And then there's this other side of it though where there are people who are afraid of working with people who could be successful at them. And that takes a whole another type of mindset which says a lot to me about you.  And then two, that means you got to be confident in what you can still provide. Even though I'm going to be successful without you, you still got the confidence that you can provide value. Absolutely. Yeah, absolutely. And to go back to what you're saying about artist development, the reason why, and I'm not saying labels are right for not working on it anymore. But at the same time, there is a level of development that because of the way the landscape of the game is now and it's a free market, the audience is right there. All you got to do is press a button on your phone to access them. So you should be doing a certain amount of development on your own if you're active. Like if you're putting things out, you're seeing what's working. You're seeing what's not working. You're, there should be a level. You're booking. You're like, you're trying to get on stage. You're trying to get, you know, your reps in in terms of performances. Like due to the market now, you should be doing a certain level of development on your own because before there was so many barriers as to why the label had to do all the development. You know, back in the day, if the studio time is 250 an hour, that right there is a reason why you're not even getting your hours in. But now it's like laptop mic. You should be developing in your bedroom. Now you can hit up different, you know, local people around you to get on stage, different venues to get on stage. You know, you can, you know, one thing I used to always do, I used to look at whatever tours were coming to the Tabernacle, whatever tours were coming to, these are all like Atlanta venues, like the Masquerade, Tabernacle, Vinyl, what's that other one? The loft. I used to look at like to see what are all these different acts coming in this week or this month and then hit them up, hit their team up, hit their management up, hit the venue up just to see if I can get an opening slot. It didn't work all the time, but a couple of times it did work. But what I'm saying is that like, I was taking the necessary steps to get my reps in like, I knew I needed stage time.  You know what I'm saying? So I was ready for that big stage because I'd already gotten so many reps in on the stage. So I say, I'm not, I'm not trying to like give the labels a pass for not developing artists anymore. But I will say that from their perspective and just from surveying the way things are today, you should be developing on your own. There's a certain amount of development that you have access to these days. You know, you should, there's a certain amount of developing that you don't need anybody to do for you. And if you're waiting for them to do it for you then, you'll be waiting a long time probably. Even when I hear that I never think it's a super fair critique because like you said, it's the access that's the big part. Artists in yester year, they couldn't find the people. Artists today can go, man, I wish I was better at marketing and go on YouTube and type in marketing and find Sean, right? Reach out to Sean and Sean might become a mentor and help develop the aspect of it. And so it was just so much easier to get the people. And now, you know, nowadays and based on the stories that we hear about the whole industry, it feels like, you know, a lot more of the industry today and artists are helpful. You know what I'm saying? Like they're a lot more willing to share resources. So now, yeah, I definitely feel like it's a super unfair critique. It's, what's the word I'm looking for? It's like, it's relinquishing the artists of responsibility that they have. As an artist, you have a certain responsibility that you should be doing. You like, you don't need to wait on a record label to develop you. You need to like be making your own effort and through trial and error and doing things and correcting your errors. That's development in itself. Yeah. Like that's development because you're at least you're trying. You're seeing what's going right. You're seeing what's going wrong. And as you make corrections, all the corrections you make, that's development. If you make 12 corrections this year, that's development. You do that for five years. That's 60 corrections. You know what I'm saying? That's development. So it's like, if as an artist, there's a certain amount of development that you could be doing on your own and there's no excuse to not do it. What were you like growing up, man? Sports. I loved playing sports. That was my whole life before music was sports. Every year I played basketball and football. I would say pretty much K through like 11th grade and then school and sports. And yeah, that's pretty much my life. Basketball, football every year, every. Every season. Same entirely into everything because I can hear a lot of that the way you talk. Yeah, I think the main things I took from sports into this was just understanding the value of a team and teamwork and also I'll say this. I didn't go to the levels in sports I could have gone to because I wasn't doing the work. Got to how J. Cole realized it. It's like back then I didn't I didn't realize what it took to make it to the next level in sports because nobody was like showing you that. But then I understood that when I was like, oh, okay, well, I didn't make it in that. So I took that mindset and I realized, okay, there's all this work that needs to be done. I'm going to get it right in music. I'm going to do it better this time. That's dope that you even recognize that because you were still really young when you made that switch. Yeah, I was like 16. Dang. Yeah. And you mentioned when you were younger, there'll be stuff that you wanted to buy and then you reverse engineer like how to get it. Like, did you always find yourself just like wanting stuff greater and then like going through that process? Did you actually ever get it by you? Some stuff, a lot of the go-karts know, but some of the cheaper stuff. Yes, like sneakers, you know, clothes, sneakers, the stuff that was more tangible or just closer within reach, I got.  Yeah, but like the sneakers, clothes, stuff like that that I wanted, yeah, like my parents were never going to buy me a $500 belt. That just was not going to, whether they could afford it or not, they weren't going to do it because they just don't believe that a belt should be worth $500. So if I wanted the $500 belt, I had to just go buy it. What'd you do to get it? I had, I worked at Outback Steakhouse. I worked at Kroger. And those were the two like main jobs I had pretty much my whole life. Also, you just went straight to job and then just well before I could even work jobs. I worked, my uncle, I worked like a summer for my uncle. He had like a car wash. I worked there, he had a car wash at like a hospital. I don't think it was Emory or Grady. I think it was like Northside Hospital, Pima Hospital, one of those hospitals, but he had like a car wash outside the hospital, like attached to the hospital and all the doctors, he'd wash all their cars. So I worked with him for like a summer. And then just like hustling around with my friends, just little stuff here and there. How do you go from that position, not being able to get to Yamaha, right? Not doing what you wanted to in sports. Focusing in on music, finding success, but then when labels start to surround, you know what I mean? Not falling prey to, well, let me just stop being indie period. And you're cashing in. So for me, for instance, so me and Russ were doing music for like six, seven years out of my house. Every night, every day, probably five, six times a week were in the studio. So we did that for six, seven years. And then Russ caught a hit song, what they want blew up. So I saw, then he got signed up. He partnered up and everything. So I saw, I had an inside, I had like front row seats at the game type thing. I saw from the inside perspective what it is to be on a major label and what it's like. And I saw all the inner workings of a major label and there was parallels with sports. You know, so the main reason I stopped playing sports was because of the politics. I didn't like, I didn't like the fact that like, yeah, I could do two a day workouts. Like you do the workout at six a.m. before school and then you do the workout. Then you have real practice after school and then come game day, he plays his son. The coach plays his son or the coach plays the kid whose dad just donated to the booster club. So I saw all these, I saw politics being played and I realized that I don't want to do anything where my future is going to be the hands of another man. Like if like, I can't get to the next level in college sports. If I don't get the playing time I need now in high school. So I didn't want us to, I saw that, oh my God, this dude, my future is in this man's hands and he doesn't like me and I don't like him.  So I realized, I was like, yeah, you know what? But then I saw the same thing in the major label system.    You might not, you might just be being yourself.    They're not. They're delivering your music late.   So I saw that. So part of the reason why I never went the major label route and honestly to be really honest about it too was I just haven't been offered a deal I would take. I would work with the major label under I've never been anti major label either is Russ. We've just always been anti exploitation and anti bad deals.  You know, 21 Savage has a good deal. SZA has a good deal. They got 70 30 splits. They own their masters. It's just about getting a good deal. So I've never been anti label. No, I'm not anti label. I'm anti bad deal like your neighbor could try to sign you to a bad deal. You know, I'm saying your neighborhood weed man could try to start a record label. He could have a bad deal for you. So I'm not I'm not I'm not against I'm not against majors. I'm against bad deals. I don't care where they come from. He can come from the weed man next door trying to sign you and start his label up or it can come from the CEO of Universal or whatever. If it's a bad deal, it's a bad deal. So I've never been against majors. I'm just against shitty deals. Man, I love to hear you say that because yeah, it's not it's yeah, it's not a war against the major labels. It's no, it's just bad deals are bad deals regardless of where they come from. That's literally our ethos here that tends to name like and like I always like to stress whenever this topic comes up in this way like the whole point is to think for yourself and to be able to analyze best right based on your position. Right. And if you just say never signed to a label now you cut off what could be the better option. If you say, oh, I got a sign to get on you cut off what could be the better right exactly. So you're not analyzing the whole field. Exactly. You have to you have to analyze everything and make a good decision and ultimately I don't think you can become too successful if you allow good opportunities to just come across your desk. You don't capitalize on them. You know what I mean? So if a good opportunity comes across my desk, I don't care where it came from. It's a good opportunity. I'm going to take it. So really I just haven't been presented a deal that I wanted or that I felt was you know something I would take for myself personally. Bro, you had I had to get this one down to you had one of my favorite quotes with a kind of labels. I don't know if you're the originator of this. Okay, but you said labels don't make albums platinum customers do. It's the fans who literally are in charge and they're the ones who run everything. So we just want to help artists leave that mindset of all of all the powers in the labels hands when it's really in the audience's hands. All right. Right. This is where the sauce comes right here. Okay. And an artist and an artist isn't in the whole of you reverse this and an artist is a lemon and the label is a lemonade stand. Lemon still have value without a lemonade stand, but a lemonade stand has no value without the limit. That's an original. I can't put that. Yeah, that's an it's the truth though. Yeah, it's like perfect example. Look at Kanye West right now. He's independent. Hmm. Number one. So it's like perfect example. La Russell. Yeah.  The lemonade stand is just the place to sell and and the reality is that a lemon has value whether or not I said a lemonade stand or it's not a lemon has value. You see it on a tree. You pluck it. It's a lemon. So you can be signed if you want, but major labels can exist without artists. Artists can exist without major labels. Like we can exist without major labels. They cannot exist without us though. What's what's Republic without Justin Bieber Post Malone Ariana Grande? You know what I'm saying? Like, yeah, what's the label without its artists? Nothing. What's an artist without a label and artists? It's straight up. It's the truth. Yeah, straight up, man. Man. Yeah, I love that. And I'm glad to know that's an original to this. That's a crazy one. Oh, yeah, legit. One of my favorite. Yeah, legit. One of my favorites. I want to switch to the music. Okay. Your song branches at the end. I believe it's Lewis Farrakhan. Yeah. All right. Yeah, that I thought I recognized his voice. He has this quote about a fruit that doesn't know their roots. Right. Right. First of all, like just you had to choose, right? For that to be there. Yeah, that meant it resonated with you somehow some way. Yeah. What about that? Like meant something to you. Oh, I mean, it was just the fact of what first of all, what I was talking about in the song. So on the song branches, I'm talking about being disconnected from your roots and that being a cause of a lot of the issues and a lot of the stuff we see is manifesting because of that issue. You know what I'm saying? Like not not not looking at another black person as your brother, not looking at another.   We come from the same place. We have the same roots. So a lot of the violence and a lot of the stuff you see, yeah, you can blame a lot of environmental and circumstantial circumstances on stuff.  You know what I'm saying? Like you could blame a lot of things all you want, but ultimately it boils down to you. And you've the more you value yourself, the more you value the next man and all that stems from self knowledge, having knowledge of self that starts from knowing having knowledge of origin. You can't know yourself if you don't know where you're from. You can't know where you're going. If you don't know where you're from. So, you know, the more you get to know yourself, the more you know your roots, the more connected you are and you realize, you know what? And I'm not harming him. It's harming me. If I harm you, I'm harming myself. So with that song, the piece of content I put out with that song was a montage of chaos and there's it's a montage of chaos for a reason because a lot of that stuff is a manifestation of being disconnected from our roots. As people and our roots as Africans, like our roots as African people, a lot of people talk about, oh, I'm not from Africa. Yes, you are, bro. If you're black, you are from Africa. Hate to break it to you. You are African from the cater break. What you mean? Right. But it's the roots. You know what I'm saying? It's like our roots. Like we all come from somewhere. America is America is a it's a melting pot. You know, but everybody from here came from somewhere. You know, from the most part, the natives are the some people believe that black people were in America before the slavery and all that. I don't necessarily believe in that. You know, but I don't know. I wasn't around back then, so I can't tell you. I don't know for sure. But what I do know is that, you know, everybody comes to America from somewhere, whether it's willingly or unwillingly. This is a melting pot. We all came from somewhere. And if you notice like look at Asian Americans, look at all these other communities like because they have that bond. Anywhere you go in America, there's Chinatown. Any city, any major city you go to in America, there's a Chinatown. There's a little China. There's a little this little that anywhere you go and in those communities, there's a little bit more warmth and love within each other because there's that understanding is that we are all the same here and we are all one. So there's a way that they handle each other or even if you walk through certain neighborhoods in Brooklyn, you see that it's like predominantly Jewish or predominant, you know, I'm saying like certain areas in New York and on those streets, you can feel a little bit more love because every everybody is the same and everybody has this sense of community, you know, and when you have that sense of community, there's just you're a little bit less likely to harm the man next to you when you relate to him a little bit more. But if you look at him like a complete stranger.  Well said. Well said, man. There's something. Was there like an inflection point in your life where like that clicked for you in that way? Um, yes and no. Because my family's from Nigeria originally. So I was always going back to Nigeria as a kid. You know, when I was born within the first 60 days, I went to Nigeria to see my dad. So I've been going to Nigeria. My dad lived in Nigeria my whole life. So I've been going to Nigeria pretty much annually to visit him. So I've always I've always been aware of that level of because because you because even like even in Nigeria, you could walk the streets of Nigeria and you can feel there's like there's there's a certain feeling of community. Obviously everywhere has its good sides and bad sides or certain places that you're not going to walk anywhere because it's just not a safe area. But for the most part, there is a feeling of community everywhere you go because everybody kind of relates to each other in that way. Or even when you go visit Jamaica or you go visit certain countries, there's a way that everybody relates to each other and it's from that cultural. It's like that unit that not unilateral is not the word. It's just having that one thing that ties us all together and it's that culture. It's like you're less likely to just while out on people because you look at that person as a brother. You look at him as an extension of self. So you're a little bit more connected to that person.  You look at their last name. It has a couple of the same syllables as yours. You know what I'm saying? It's like you're not like this guy might be a little like this.  So it's like right, right? You see, okay, you can see yourself in this man. So you're just less likely to just while out on him. That makes me think about the Nipsey quote where he was talking about going to the other side of town looking for yourself. But it wasn't a negative way to violent. Right. Right. I'm a gang member looking for another gang member. I'm a walk away. I'm a walk away from the white guy. I'm not looking for him. I'm not going to look at the guy that looked more like a square, but the guy who dressed like me got the same swag. Right. I'm actually looking to kill him.  Exactly.  It was. It was. It was my mind when he said that. Yeah. Well, I definitely want to before we get out of here, just talk a little bit about the single you mentioned is to come. All right. We just talked about the mindset around branches and where you are. What mental space where you in for this next song? Okay. So this next one is called believe and the mindset I was in was just about having endurance and resilience because a lot of people to me from my experience, I've realized that success is more so about endurance and speed. It's not about how fast can you run? It's about how long can you run like it's not about like how quick you can do something or how fast it's about how long can you keep resilience is toughness and endurance is duration. So success is about how long can you be tough? It's not about can you be tough for three months? Can you be tough for three years? Can you be tough for 13 years? Can you be, you know, resilient for that long amount of time? So the song is just touching on those kind of topics and it's touching on the fact that like you have to be able to endure for a long time.  I should be like, what's long suffering mean? She's like, well, you haven't heard it. He's like, it's a Christian term. It means you can suffer for a long time. Like you're able to be like you're able to be uncomfortable. You're able to endure a lot of pain, discomfort, disappointment and stuff for a long time. You know, it's about never surrendering and never throwing in the towel. So, you know, you can a lot of people start things, but very few people finish and endurance and resilience are the two qualities that help you finish. So that's that's what the song touches touches on. And it just lets people know that you need to be able to go the distance. You know, like Nipsey said, it's a marathon. It's not about, you know, being optimistic for six months. Six months optimism does not build great things. Try six years, try 16 years. There's a quote that says, you know, some people are enthusiastic for three months. Some are enthusiastic for three years, but it's enthusiasm for 30 years that makes people successful. And that's how I live. I've even my own experiences taught me that I started our label in 2010. This is year 15. And I've realized and we're having our, you know, we signed LaRussell in what year 12, you know, we certain things happened. First of all, we didn't even get our foot into the major label door till year seven. You know what I'm saying? Now we're on year 15. So it's like, I started off doing music with a lot of other people. They all stopped me and Russ were the only people who kept going. Like my house was an open, open door policy.  Like if you wrapped and you live nearby, I didn't charge for studio time. You could come to my house and lay music down. I would let I would let people come through rappers, singers, whatever. If you if you loved music and I thought you a relatively cool guy, like I could trust you in my house. Yeah. Then I let you come over at one point. It was five, six, seven of us. Years past. There's only two men standing. You know what I'm saying? And Russ and I were the only two that stuck with it, you know, and that's why we're the only two that surfaced to the mainstream world or to the internet or whatever. It's because we just never gave up. So I realized that like it's all just about how long you can do something. It's not about people look at a career like this. A career is like this. It's about how can you how long can you run? How long can you stretch this out? That's what I've realized. Damn, I love that man. You talk my talk because it's people think longevity like how do you be longevity? I'm not talking about longevity yet, but I can even witness for myself, but I can see what longevity is just by watching people who have longevity is just consistent. It's longevity is just effort. It's continual effort. That's longevity. If you look at most rappers who fell off, the common thread is they also stop putting out music. Yeah, usually like a lot of the guys who just kept going, yeah, there's going to be ups and downs, but just if you just keep going and keep doing your thing, that's how you create longevity. You'll never stop those years when we weren't hearing about that artist. You'll think, oh man, I'm glad he finally dropped something again. He hasn't dropped something in two, three years. It's like, no, that other stuff just wasn't working. He was dropping. He was dropping, right? It just in surface. Yeah, now it is surfaced. Yeah, I see exactly what you like. Um, I think K camp was a good example of that. Like K camp K camp had a hit. Perfect example. Yeah, he had a hit or even rich the kid rich the kid recently like rich the kid. Um, he had his hits 2018 when he came out and then not as many hits and then boom, he has the biggest song in the world right now carnival. Yeah, I just ran into rich the kid in Paris. So like, yeah, I congratulate him on that. I was like, congratulations on sticking with it because a lot of people would, um, you know, kind of throw in the towel when things start to look like they're slowing down. And that's the funny thing about the industry, bro. People think that's what I've learned to like, you can't take things personal. A lot of artists take it personal when their phone stops ringing. It's a temperature based business. So when you're hot, the phone rings. When you're cold, it doesn't. It's not personal, bro. It's just business. Like, you know, it's not personal. It's like when you're hot, you're going to have missed calls.  You'll be able to answer everybody.  The phone stops ringing. The mistake artists make is taking that personal, but just understanding it's not personal.    Success is extremely attractive and success has a million fathers, but failure is an orphan. Nobody wants to be around a failure.   But when you're hot, they want some of that heat to rub off on them. Yeah. They want to be associated with your success. And it's just how it goes, bro. It's not personal. It's just how the game goes. Man, I think people are going to get so much value from that right there, man. Everything you just said and then coming from an artist, I think it's even more important. Yeah. Definitely. I appreciate you sharing that, man. Absolutely. Well, yo, everybody, this is yet another episode of No Labels Necessary Podcast. I'm Brandon Shawn. And I'm Kory. Boogus. Are we out? Yes, sir. Appreciate you for watching. If you like content like this, you'll love seeing our music marketing strategies that we use as an agency to actually blow up artists to millions and even billions of streams that are available for free at nolabelsnecessary.com. And the cool part about it that's going to really make you love it is we don't have to be all entertaining and add all this fluff just to get some use that we do on YouTube. We get straight to the information. There's play by play in courses that give you a breakdown of every step that you should do to get success. And you have the ability to have communication with us. We get on live talks, a lot of cool things for members and it's free just to hop in. So check it out right now at nolabelsnecessary.com.


In the previous lecture, we are discussing about the inelastic analysis of three-dimensional frame, a single-storey three-dimensional frame with a rigid slab on the top of it. The frame was asymmetric as a result of that under the action of earthquake, a unidirectional earthquake, there will be a torsional rotation of the frame about a vertical axis leading to the development of the bending moments in the columns in two directions. This requires the consideration of the bi-directional interaction effect on yielding of columns and that was the main point of discussion in the previous lecture and we had seen there that individually the columns may not yield in each direction separately, but under sudden combination of the bending moments in the two directions, the column may yield depending upon the yield criteria that is assumed. And when a column undergoes yielding, then the tangent stiffness matrix or the instantaneous stiffness matrix that gets modified and this modification is done with the help of a stiffness matrix called the plastic stiffness matrix K p. The elements of K p can be obtained with the use of certain formula which we had discussed in the previous lecture and with this modification of the stiffness matrix of the columns, the entire stiffness matrix of the system is assembled and then we analyze the system for the subsequent increment of loading or the subsequent interval of time delta t. And after we get the response or the incremental response at time delta t, then we add this displacement to the previous displacement and get the total displacement of the columns in the two directions and also we obtain the rotations with the help of that the bending moments in the columns can be computed, the yield criteria can be checked and we make sure that at any stage of calculation, the conditions of the bending moments are such that they should not cross the yield surface or the yield condition is always satisfied. If the combination of the bending moments lead to a bending moment greater than the yield moment that is it goes out of the yield curve, then the bending moments in the columns are pulled back, so that the total bending moment becomes equal to the yield moment and it remains on the yield curve itself. And how to do this pulling back that was also explained that requires some iterations and with that the help of that iteration, we make sure that the bending combinations of the bending moment in the columns are such that they all the time remain on the yield surface. Now, in this lecture today what we will do is that the concepts that we had discussed in the previous lectures that will be extended to multistory building frames. In the multistory building frames, the number of stories and the number of bays may be too many. And therefore, the idealized conditions that we discussed for a two-story frame or a single-story frame, those idealized conditions may be difficult to implement. Therefore, we do some kind of approximation for extending the concepts to the multistory building frames. And specially in order to implement those methods for the multistory building frames, we make the delta t to be very small, so that the errors which are developed due to the approximation, those errors are very little or those errors are minimized as a result of that there is not much accumulation of the error to upset the final response. Now, for the 2-D frames what we do is that first we identify the potential sections of building at the different cross sections of the frame. And for that we isolate 2 cases, one is the case where the beams are weaker than the column. And in the second case where the columns are weaker than the beams. First we take up the case of when the columns are weaker than the beams that is the columns are in building. In that case we first increment the loading at small increments and apply on to the structure. And we calculate the bending moments at the specified sections where we look for the case when the columns can undergo yielding. Therefore, at those cross sections we check the bending moment and when the bending moment at that cross section becomes equal to the plastic moment or the moment incapacity of that cross section, we say that that particular cross section has yielded. And for subsequent delta t or subsequent increment of loading we consider an ordinary hinge to be present at that particular cross section. And accordingly write down the stiffness matrix for that particular element or the column. Then we assemble the entire stiffness matrix after considering the ordinary hinge at the plastic hinges. Once you have done that then we use that particular stiffness matrix for finding the response of the system to the next increment of loading. And when we get that incremental displacement then we add the incremental moment to the previous moment and see whether other cross sections are yielding or not. If the m which is computed at the end of any calculation becomes equal or greater than the plastic moment then at the end of the delta t we what we do is that we do not modify the calculation the way we had done for a two-story frame or a single-story frame where when the system passes from the elastic state to the plastic state then we find out the point at which the plastication takes place. And therefore, a portion the loading incremental loading into two parts one part of the loading takes the system to the state when it just yield point. And then the other part of the loading in which the system behaves plastically and the responses are calculated for these two parts separately and add them together to get the final response. However, when the number of stories or number of bays are too many these kind of calculation take a lot of computational effort and it becomes somewhat cumbersome. Therefore, what is done is that if the bending moment at the end of a time interval becomes greater than m at any particular cross section then what we do that we assume that at that particular cross section there is a yielding and by assuming that there is a yield hinge that has occurred at that particular point we obtain a revised stiffness matrix for the entire system. So, these revised stiffness matrix and the stiffness matrix that you had calculated in the beginning of the time interval these two stiffness matrices are taken and averaged and with the help of that averaged stiffness matrix we finally obtain the incremental displacement or incremental response of the system to the incremental loading and that is how we proceed. Similarly, when we obtain that at the end of the time interval delta t there is an unloading which is taking place then also we do the same kind of calculation we constantly monitor the velocity is at the yield sections these velocities could be the rotational velocity or the displacement velocity depending upon the kind of problem that we are solving. If you are solving a problem in which the columns are only yielding then we constantly monitor the displacement velocities and these displacement velocities when they change their sign that means it becomes negative then we assume that the cross section has been unloaded and during that time interval then at the end of the time interval we assume the stiffness at that particular cross section to be is equal to the initial stiffness of the cross section and with the help of that we obtain a total stiffness matrix of the entire structure and that stiffness matrix is added to the stiffness matrix of the structure in the beginning of delta t average the stiffness matrix and with the help of that average stiffness matrix we find out the final incremental displacement of the system subjected to the incremental loading. So, for doing this the necessary condition is that the delta t should be small because the approximation that we are making by averaging the two stiffnesses that approximation should not lead to a much accumulation of the error. The concept is explained with the help of the example 6.4 in which we wish to find out the moment at the base of a particular column of the frame that I am going to show you in the subsequent slide and it is subjected to L centre earthquake and the results are obtained for two cases in one case the member that behave elastoplastically that is the columns behave elastoplastically and in the other case the column behaviour is a bilinear backbone curve. So, the problem is shown over here this is a shear frame and therefore, the columns are only yielding at the bottom columns we have the stiffness is 1.5 k and the upper two columns we have the stiffness k the displacements are x 1, x 2, x 3 no rotation is involved the values of mass and the stiffness that is given and at cross section a we wish to find out the time history of the bending moment. The two cases of the behaviour of the column is shown with the help of the force displacement curve of the column we take two cases in one case we assume the system to be perfectly elastoplastic that is at the bending moment of 346.23 kilo Newton we assume that the yielding takes place and after the yielding the system or the column continues to displace under the same bending moment. So, this is the perfect elastoplastic case and the initial stiffness of this elastoplastic system is given by k i. In the second case where we consider the column to behave bilinearly in that case after the yield point that is the yield moment or yield force of 346.23 kilo Newton the there is a stiffness of the system that stiffness is called k d and k d is assumed to be is equal to 0.1 times the k i that is the initial stiffness. So, for these two cases the results were obtained and the method that was discussed before that method was adopted in the case of bilinear curve whenever we find that the bending moment has exceeded the yield value then the stiffness of the system is taken as k d or stiffness of the column is taken as k d and not as k i and unlike the case of perfectly elastoplastic case we do not consider a ordinary hinge to exist at the point of the plastification for subsequent calculation. We consider that particular cross section still can take certain value of the force or that is able to take the shear force or the bending moment under subsequent loading, but with a reduced stiffness of k d. So, in that particular way we perform the calculation. The final results for the two cases are shown over here that is the plot of the bending moment with time for the elastoplastic case is shown in figure 6.10 and 36.11. We see that the bending moments are varying in such a way that over the small value of delta t the values of the bending moment are almost stationary or horizontal. The force displacement relationship is exhibiting on the case of perfectly elastoplastic state. We can see that the upper line for the force displacement curve is almost a horizontal line and depicting the perfect elastoplastic state. For the second case where we had a bilinear curve representing the force displacement relationship the bending moment plot it shows that at the peaks the values are not remaining stationary over delta t time. It is slightly inclined and showing that there is a small variation and because of the some stiffness that we find after the yielding or the stiffness that is represented by k d. Therefore, these in the portion at the top is not perfectly horizontal. The force displacement relationship also shows the similar trend the upper curve is not perfectly horizontal it is slightly inclined and this inclination is produced because of the stiffness reduced stiffness k d after the yielding has taken place. If the moment rotation relationship or the force displacement relationship is not idealized as a elastoplastic perfectly elastoplastic or bilinear curve, but by a non-linear curve then the tangent stiffness matrix for each delta t is obtained and this tangent stiffness matrix is obtained at the beginning of the time interval delta t. With the help of that tangent and stiffness we calculate the entire stiffness matrix of the system and then find out the incremental displacement or incremental rotation of the members and the system for the incremental loading. If unloading takes place then at that state we assume that the system is having or the members are having a stiffness which is equal to the initial stiffness and therefore, as we find that there is an unloading for a particular element at a particular cross section then the in place of taking the tangent stiffness at that particular for interval we consider the initial stiffness for that particular element and go ahead with the calculation. In order to improve the accuracy we do the same thing that is whenever there is an unloading or whenever there is a movement from one state to the other then what we do is that we find out the stiffness matrix at the end of the time interval and the stiffness matrix at the beginning of the time interval these two stiffness matrices added together averaged and with the help of that averaged stiffness matrix we find out the incremental final incremental displacement or response over the time of delta t whenever the system is unloaded. However, whenever the system is not unloaded but monotonically increasing over the curvilinear force displacement relationship then we go on calculating these in tangent stiffness says at every point or that is at every interval of time t now in order to aid that calculation what we do is that the slope of the backbone curve that are obtained at some discrete points and they can be inputted into the program whenever any point lies within in the two such points where the interpolated values are available or where the values of the tangent stiffness matrices are available then the value for any value for any value at a particular point in between those two points can be obtained by interpolation. Now, next we come to the case when the system is having a weak column and a strong beam but the system is a 3 D system in that case the method that we described before for a single story frame three dimensional frame the same method is extended and the three dimensional stiffness matrix which is called the your transient stiffness matrix K t is obtained as K e minus K p if any section of the column is yielding during the increment of loading now by considering the yielding of the columns and thereby the modification of the column that arise due to this yielding leading to a modified transient stiffness matrix K t for the element we assemble the total stiffness matrix of the three dimensional frame and with the help of that modified stiffness matrix we find out the incremental displacement of the system for the increment of loading over time delta t. Only thing that one has to take note of is that for individual elements when we make the modification to the stiffness matrix by including the plastic stiffness matrix part that is K p then we must attach the coefficients to the appropriate degrees of freedom and in the overall stiffness matrix those modifications should be duly incorporated in different places denoting the positions for the different degrees of freedom. Therefore what is generally done is that the sections which are yielded at those sections whatever is the degree of freedom that are associated they are arranged accordingly in the entire sequence of the degrees of freedom then the solution procedure remains exactly the same as before that we have described for the case of a single story. Now if the three dimensional frame is a weak beam strong column system then the problem becomes simple as the beams undergo only one way bending on the case of bi-directional interaction on yielding does not come into picture because if we look at the beams in a three dimensional frame they cannot undergo any lateral bending because of the high stiffness of the slab. So therefore they only undergo a vertical bending and thus the beams are subjected to only one way bending and once it is having a one way bending then the analysis procedure remains the same as that of the 2D frame. So for a 2D frame or the 3D frame having a weak beam strong column system the calculation procedures remains the same but some extra precaution has to be taken for condensing out the rotational degrees of freedom in the system because the rotational degrees of freedom do not enter into the problem as a dynamic degree of freedom and in most of the cases we condense out this rotational degree of freedom. Now in doing so these condensation technique can be quite straight forward whenever the system or any cross section has not yielded but after the yielding has taken place at any particular cross section then a special note is to be taken care of in the condensation procedure to take into account the effect of the yielding of the cross section. Now this involves some extra computational effort and that is explained with the help of the example of a 2-storey frame that I will be explaining shortly but first what we do is that after we have obtained the incremental displacements from that incremental displacements we calculate the incremental rotations from the relationship that exists in the process of the condensation and with that relationship we find out the incremental rotations from the incremental displacements and those incremental rotations are then added to the previous rotation to find out the final rotation at the current state and we see that whether the plasticization has taken place at a particular cross section. Similarly we record the not only the rotations at the cross sections but also record the or trace the rotational velocity at the particular section where the yielding has taken place and if we find that the rotational velocity is or moves from positive value to the negative value then there is a unloading that has taken place at that particular cross section and we take appropriate measures to take into account this the effect of unloading. The procedure here is explained for these 2-storey frame that is shown over here the frame is having a antisymmetric case because under lateral load the frame will behave antisymmetrically as a result of that we consider only delta 1 delta 2 they are the 2 sway displacement and out of the 4 rotations we take only 2 rotations as unknown and we take the line of symmetry over here and while calculating the stiffness matrix we take help of the antisymmetric case. The stiffness of the upper storey of the columns are k by 2 k by 2 so the total stiffness is k for the bottom also the total stiffness of the columns are k. The beams are having a flexural rigidity of E I B and the flexural rigidity of the columns are E I C and the k is equivalent to 12 E I C by L cube where L is this length beams are also having a length of L. The 4 E I C by L that turns out to be k L square by 3 from this value of the k which is defined at the top. Similarly, 6 E I by L which will be the stiffness of the beams for the antisymmetric case that can be written as k L square by 2 into alpha 1 where alpha 1 is defined as E I B by E I C alpha 1 corresponds to theta 1 and alpha 2 corresponds to theta 2 in general we can call it as alpha this ratio. Now, the rotation that takes place at the end of the beam and the moment that is developed that can be related with the help of this relationship say r is equal to theta that we can write as 6 E I B by L and that in turn can be written as 6 alpha E I C by L and from that one can write down alpha to be is equal to r L by 6 E I C. And for the top beam it will be alpha 1 that is r 1 L by 6 E I C and for these rotation theta 2 it will be alpha 2. Now, as the when the cross section over here they undergo yielding then they will be the E I B the flexural rigidity of the beam they basically do not come into picture and it is very difficult then to define the stiffness of the beam in this particular fashion it is possible so long it is in the elastic state. And therefore, the rotation r basically is got into picture we calculate the rotations at this particular ends after the yielding. And once we get the rotations then the value of alpha can be computed with the help of this relationship or this equation. And once we get the value of alpha then we write down the stiffness matrix of the system in terms of alpha that I show you. Now, the beams they have a elasto plastic property or elastic perfectly plastic property. So, the m p 1 m p 2 and m p 3 or in other words the plastic movement capacities of the two beams they are the same. And assuming then to be same and considering the antisymmetric property of the frame we can write down the total stiffness matrix by equation 6.28 a and in which you can see that alpha 1 and alpha 2 are existing this alpha 1 and alpha 2 have been described. And it has been brought into picture because after the yielding has taken place then simply we will find out the values of alpha 1 and alpha 2 from the the current values of moment and rotation. In the beginning of the calculation that is when the system is in the elastic state alpha 1 and alpha 2 they are equal to E i B by E i C or 6 E i B by 6 E i C. Now, once we write down the stiffness matrix in terms of the 4 degrees of freedom then we condense out the rotational degrees of freedom. And after the rotational degrees of freedom are condensed out then we get the k bar delta that is the condense stiffness matrix with respect to delta. And one can see that the expression of the k bar delta contains alpha 1 and alpha 2 therefore, the alpha 1 and alpha 2 are to be calculated at every step of the incremental loading. Now, equation of motion of the frame can be written in this particular way that is m delta x double dot c delta x dot plus k bar delta t delta x k bar delta t denotes the stiffness matrix which remain constant over the increment of incremental time delta t. And in the beginning of the delta t whatever stiffness matrix we get that is the value of k bar and with the help of that stiffness matrix we calculate the responses for the incremental loading over a incremental time period of delta t time delta t. On the right hand side we have got minus m i delta x double dot g that is a usual equation in writing down the c matrix we make an assumption. In fact, c matrix if we assume the proportional stiffness damping matrix then the value of the c matrix may change as the value of the k matrix changes at every instant. But in that case the system will be having varying damping matrix. So, in order to simplify the problem what we do is that we assume the c matrix to be is equal to mass and stiffness proportional where stiffness is the initial stiffness of the system. So, with the help of that we calculate the c matrix and using that c matrix we go ahead with the further calculation. The solution requires k bar delta to be computed at every instant of time t and this requires alpha 1 and alpha 2 to be calculated. Now, we use the following steps for calculating the values of alpha 1 and alpha 2 for a particular increment of loading. We calculate the incremental displacement that is delta x i minus 1 to calculate the final displacement x i. Similarly, we record the velocity x dot i that can be obtained by finding out the velocity at the i minus 1 th step that is in the beginning of the delta t time. After we have calculated the response over the increment in the loading then we get the delta x i minus 1 and delta x dot i minus 1 and when we add them together we get the value of the velocity at the ith time station. Similarly, one can calculate the value of the bending moment at the ith time station at a cross at a cross section of the beam and in obtaining the bending moment at the ith time step we need to know the delta m i minus 1 and delta m 2 i minus 1 that is at the two ends of the beams. For that what we have to do is that we should be able to find out the values of the delta 1 i minus 1 and delta theta 2 i minus 1 that is the incremental rotations at those two sections. These incremental rotations are obtained using the previous equation in which alpha values are calculated as the following. And the equation 6.29 is nothing but the this equation that is the equation which relates theta and delta and they are alpha 1 and alpha 2 both the things are required. So, these alpha values are calculated using this relationship alpha 1 is equal to r i minus 1 l divided by 6 e i c and alpha 2 is equal to r 2 i minus 1 l divided by 6 e i c that we have derived before. And the value of r i minus 1 and r 2 i minus 1 they are obtained from the moment that is existing at i minus 1 net time step and the rotation is also known at i minus 1 at time step. So, by dividing the moment by the rotation we can get the value of r i minus 1. Similarly one can calculate the value of r 2 i minus 1 by dividing the moment and that is existing at i minus 1 a time step for the second beam divided by the rotation that takes place for the second beam.  And once we get those values then with the help of those rotational values incremental rotational values and incremental displacement one can calculate delta m 1 i minus 1 and delta m 2 i minus 1. And after we add it to the existing already existing values of the moment then we get the final moment at m 1 i and m 2 i. And once we get the values of m 1 i and m 2 i then these values are used for calculating the values of alpha 1 and alpha 2 for the subsequent time step. And that is how we proceed in the beginning of the problem the values of alpha 1 and alpha 2 as I told you before will be equal to e i b by e i c. Now, if elasto plastic state is assumed then the values of alpha 1 is equal to alpha 2 is equal to 0 when m 1 m 2 becomes equal to m p at the beginning of a time interval. And for another time step we get the loading case then we make sure that the initial or the stiffness of the system becomes equal to the initial stiffness. So, in this particular way one can find out the stiffness says of the system that is the total stiffness of the system at any increment of time delta t. And with the help of that stiffness we calculate the incremental displacement that is displacement and rotations for the system for the incremental loading. Now, this is further explained with the help of this example over here this is an example of a three-story frame. And here we have got delta 1 delta 2 delta 3 these are the three so a displacements. We have the rotations these rotations are theta 1 theta 2 theta 3 on the right hand side of the beam. And on the left hand side of the beam we have got theta 4 or theta 5 and theta 6. So, they are the rotations on the left hand side. The sections are marked as 1 and 2 where the yielding can take place 3 and 4 where the yielding can take place and 5 and 6 where the yielding can take place. The elasto plastic property of the rotation and movement that is shown over here we call this as the general force displacement curve. In fact, here it is the moment rotation curve. At a value of the bending moment of 500 kilo Newton meter we have is equal to the MP value. And the yield rotation is given as 0.00109 radian. This is the value of the E for the rotation for the material the beam section is this and column section is this. The stiffnesses are given as K K K for the column. We consider the values of the rotations and the displacement and at T is equal to 1.36 second these values are given in the following table that is as joint 135 and 246 that is 135 are the left hand joint of the beams. And the 246 are the right hand cross sections of the beam and the left hand side is 135. So, they are basically shown over here as joint. And at time step 1.36 we have the displacement x as equal to 0.00293. Then for the displacement next is 0.00701 and 0.00978. So, these displacements are the displacement corresponding to the delta 1 delta 2 delta 3. And since in the left hand side and the right hand side the displacement is displacement at the same that is if we assume the members to be in extensible. Then those displacements are repeated over here 0.00293 0.00293 and 0.007. So, these displacements are the displacement corresponding to the delta 1 delta 2 delta 3. And since in the left hand side and the right hand side the displacement is displacement at the same that is if we assume the members to be in extensible. So, 0.00701 and 0.00978. Mind you this is the top displacement, this is the middle stored displacement and this is the bottom stored displacement. The velocities corresponding to these sway displacements they are recorded over here. And you see again that there is a repetition over here because on both sides we have the same displacement. Then this is the acceleration which is recorded over here at time 1.36. This is the rotation that is taking place at 135. These rotations are 0.00109, 0.3095 and 0.0053. So, these are the rotations and we can see that at joint 1 the rotation is maximum that is at this section over here. The rotation is maximum that is in the bottom column or bottom beam the rotation here and the rotation here they should be same because of the anti-symmetry. And these two rotations are different. So, these two rotations are different. So, this is the bottom column and this is the bottom column. So, this is the bottom column and this is the bottom and the rotation here they should be same because of the anti-symmetry. And these two rotations are maximum and then we have the rotation for this beam then we have the rotation for this beam. So, these rotations are listed over here. The rotational velocities they are shown over here. Again they are of the same nature in both the rotation and the sides. The rotational accelerations are also shown over here. With the help of these rotational rotations and the displacement one can calculate the bending moment at the two ends of the lower beam. And for the two ends of the lower beam the bending moment is equal to 50. And for the next beam it is 23.18 and it is 42.89 for the other beam. So, we can see that the bending moment at the bottom beam that has reached the yield value because the yield value is given as 500 KNM or 50 KNM that is given over here. Therefore, in the table in the first joint and the second joint which are the two joints of the bottom beam they are the bending moments have reached the yield value. And for the other two beams the yield values of the moments are not reached. Therefore, section 1 and 2 undergo yielding recognizing that we write down the stiffness matrix for the system for delta 1, delta 2, delta 3 these are the three displacements. And for theta 1, theta 2, theta 3 they are the rotations at one end of the beam and theta 4, theta 5, theta 6 are the rotations at the other end of the beam. So, they are shown over here theta 1, theta 2, theta 3 they are the rotations on the right hand side of the beam and theta 4, theta 5, theta 6 are the rotations on the left hand side of the beam. Now, for that we write down the stiffness matrix and we can see that in the stiffness matrix corresponding to delta 1 we have in the first column 1.067 and then corresponding to delta 2 in the column it will be minus 1.067. Then we have the displacement delta 3. So, for the delta 3 there it will be 0. Then we come to rotations theta 1, theta 2, theta 3 the corresponding to the value of theta 1 that is the rotation on the right hand side rotation of the top beam the value is coefficient is 0.8 for the next beam the coefficient is 0.8. And note that for the third beam that is the bottom beam the right hand side coefficient is written as 0. It is written 0 because the yielding has taken place over here. Therefore, for subsequent time interval and subsequent increment of loading what will be done is that we will replace that plastic hinge by ordinary hinge and which cannot take any moment. Therefore, it becomes 0. Similarly, corresponding to theta 6 we also put 0. In that same fashion the second column, third column, fourth column they have all been generated. In that case we have made sure that at the bottom beam or the first beam at the two ends of the beam there is the moment coefficients will be equal to 0 because we consider there on the ordinary hinge. And after we have written down these total stiffness matrix then only we condense out the rotational part of it and land up in the 3 by 3 stiffness matrix that is the condense stiffness matrix. So, that is how we proceed with the calculation for a particular frame given the values at a particular time 1.36. And we wish to find out say the values or responses at 1.38. In that case the second column will be stiffness matrix that we will be using for finding out the responses at 1.38 or over the incremental loading over the time increment there these k delta matrix will be used. So, let me summarize what we discussed today. We have extended the concept of the inelastic analysis of the two-dimensional and three-dimensional frame systems. For the two-dimensional and three-dimensional frame systems in which the columns are weaker than the beam then the yielding will take place in the column ends. For the case of 2D frames there will be a one-way bending and therefore the problem becomes easier. We have to only make sure that the bending moment which is computed at any particular cross section whether it is equal to the MP value or not. For the case of the three-dimensional frame if the columns undergo yielding then we have to take into account the bidirectional interaction on the yielding in order to compute the stiffness matrix of the element by incorporating a plastic component of the stiffness and then assemble the elemental stiffness matrices to find out the total stiffness matrix and go ahead with the calculation. When the system is a weak beam strong column then for both 2D and 3D frame the problem becomes the same because the beams can undergo only one-way bending therefore the problem becomes easier. But only thing that is to be taken into account is that whenever there is a hinge that is forming at the beam cross section then the rotations are to be condensed out and these rotations are in condensing out these rotations we have to take note of certain special conditions that is the values of r or the values of alpha that we discussed and with the help of that technique we modify the stiffness matrix whenever any yielding has taken place at a particular cross section of the beam.