All right. Let's get started. Well, thank you for sticking around. If I were not giving a speech right now, probably I would have wondered of myself and grab some lunch. So thank you for that. So today we're going to talk about our socket. So first introducing myself. My name is Andy Shea. I'm from Alibaba Cloud. We have an office in Northern California. It's an engineering office. So I'm an engineer working there. Also I'm the developer advocate for certain open source projects. About 10 months ago, we were introduced to this fantastic technology called our socket. And over the course, I learned that it's great for connecting devices. It's great for connecting applications, microservices, anything that doesn't involve a human being. It's great for. So today I'm going to share that technology with you. And hopefully you can spread the words and I can get some feedback. Now let's first talk about the definition of our socket. Now there's a long definition and there's some features. We're going to talk about that later. But for now, let's simply remember that it is an application protocol. So what it means is it's not dealing with signals like Wi-Fi signals. It's not doing NFC and other things. It's an application level protocol. And it gives developers the freedom that they don't have to worry about signals. They don't have to worry about IPs and ports. So they're addressing services devices. So that's what our socket is. But then I was thinking how do I introduce a protocol in certain minutes. It's measuring possible. So I was thinking of doing a demo. But for some reason, this demo cannot be set up here. Let's check. Oh, it can. So I tried this demo upstairs in my room. It works. So let's hope that this is going to work at here as well. So here's a simple demo setup. I have a Raspberry Pi device that has a camera attached to that. And it's rendering a service called Camera. It's taking a snapshot. And it's going to send the picture over. So the Raspberry Pi is connected to an R socket broker. It's a broker. That broker sits in public cloud, our own Alibaba cloud. And they're talking in R socket. I have another device conveniently in my laptop that's going to consume the service. It's also connected to the broker and also going to the cloud. And it's going to request that picture. So let's do that. Hopefully that works. How long does it take? OK. Now let's see. Can we see? No. So I'm wondering how do I do this? Let me exit this first. And we are able to see a blurred picture with no good lighting. But you get the idea, right? You get the idea. That's how it works. OK. Now seeing this very unimpressive and boring demo, you probably are wondering, what are we doing here? Why are we doing this? Because there are multiple ways to achieve the same thing. So bear with me. This demo, as boring as it is, it lays some foundations for the talking points later. Now first thing we need to clarify is why do we need a broker? I have my device here. I have my laptop there. And our socket can easily make that point-to-point connection work. So why bother going all the way around? Well, because we are thinking of the real use case, the real-world use case, where it's not just two devices. So it's multiple devices talking to each other. And we need to figure out a way to connect them. And putting a broker in between simplifies that. And that's a proven topology. Many other technologies use the same deployment model. But I need to clarify, though, that our socket is not a message bus. It's not the message queue. It's not doing the pub sub-style trafficking. So for a broker, for an our socket broker, it has to solve problems like service registry, service discovery, and load balancing. And of course load balancing is not within the boundary of the protocol itself. We're not going to talk about it, but still we need to discover how we can do discovery and registry. So any suggestions on how we do that, like any good packages that we normally use for service registry and discovery? Anyone heard of any good packages? There are a couple of them, right? Yes, service mesh. Thank you. Service mesh is a technology that helps you to connect the services similar to what we're doing here. But in particular, when you are talking about registry and discovery, you probably need a third-party tool to help you. There are like console and others, very famous ones. But guess what? Our socket doesn't need any of those. Our socket does not need a third-party tool. So here's my code in the broker. This is the part where it returns to a connection. So it's going to return a handler, and I've taken out all the other logics. But look at the two things. It registers and subscribes to two events, on success and on terminate. So when you are connecting, it's successful. There's an event getting triggered, and then you can do things. You can do things. And what do you do? You put the metadata of the service somewhere as a registry, right? And on terminating, what do you do? The same thing, you take out that metadata and say this service is no longer available. So by the simple piece of code, you can achieve a complicated third-party tool that can do. And how is that possible? How is that enabled by our socket? So our socket has this feature. It's called connection-oriented. So what does it mean? So basically our socket, when you connect to it, it's going to establish a long connection. It's going to establish a long connection, and it's going to establish sessions. And then there's a thing called set of frame. We're going to talk about that later. But set of frame is first, when you're first connecting to the broker, you're going to give out the metadata of what your device is about. You're going to give out the service name or whatever that's agreed upon. And your broker can then build a registry on top of it, and then you can later serve it, right? And also, when you have multiple instances of the same service or device, you can build algorithms of load balancing. You can build fancy algorithms of load balancing with it. And of course, we have this event that's going to be subscribed by the broker or by the connection. So it knows when the connection is available, when it's not. So we don't need all the other tools. And that's a nice part of our socket. It simplifies a lot of things. So the benefit of connection oriented is that obviously we just talk about no third-party registry. Also, we don't need third-party house check because we already know when the connection is up or down, right? And a good part, and I think it's really useful for IoT devices, is it has session resumption. Session resumption. What that means is it's beyond connection resumption. So let's say my device got disconnected. When you plug it back, it's going to resume the connection. That's normal. But let's say this device was transmitting 10 frames to my laptop, and on number five it stopped, right? In the middle of number five it stopped. So what resumption gives that is going to resume transmitting from frame five because it was not complete. So that's what session resumption does. And it's really powerful and useful, especially for IoT devices, but for other services as well. So this is one feature that I think that's interesting coming out of this demo. Another feature we're going to talk about is how we connect to the broker, okay? So this is a code on both of the devices, on both the Raspberry Pi and my laptop. It connects to the public IP of the broker. Now, the second line is the setup payload, setup frame we just talked about. It contains the metadata of your device and your service, right? So it's just one time. And the third line, that's the interesting part. So it's going to be connecting to the broker. Now, here's the thing. This Raspberry Pi is offering a service. Now normally when you are rendering a service, how do you do that? You open a port and you listen to it, right? You open a port and you listen to it. Now, in this case, we're not doing that. We connect to the broker. And then when there is, even without a broker, let's say these two are connected together, the Mac can just request to the Raspberry Pi as for that service, okay? So that's a powerful feature of our socket. Because let's think about it for a minute. When do we have the distinction between a client and a server? Meaning that communication has to be initiated from the client, right? TCP does not have that distinction. TCP doesn't have it, right? You have to open a port, yes, but the one that opens the port can initiate the communication, right? Who does that? Client and server. HTTP does, right? HTTP is designed for human beings sitting behind the browser and requesting service from a server. So it is designed to protect the consumers that the server doesn't push unnecessary stuff to the browser. That's why it has this distinction. But that model of communication does not apply to applications communication. It doesn't apply to IoT communications, right? Why do we have to, in the last talk, I don't know if you guys were here, but in the last talk, the one before me, the professor was talking about how every time you restart, you need to figure out the IP address. That's painful because you need to figure out the IP address and you need to give out a port so that you can listen to that port and establish a service, right? So this feature what we're talking about is called bidirectional communication. So bidirectional communication gives us certain benefits. Of course, for IoT devices, it's huge that security. When you listen to a port, there will be attacks, right? When you don't listen to a port, you don't have that attack. And IP management, right? It's hard for IoT devices, it's even hard for edge devices. I was working on something a couple of weeks ago that we need to come up with a list of IP address. So each time that the edge device, the server starts, it's going to have the same static IP address, which is against designs of many things. But above all, it's great for connection management. So you don't have to worry about upstream connection, downstream connection. It's one connection. So that's a power of our socket. So we've gone through two major features of our socket. Connection oriented and bidirectional communications. So what else is available, right? So that's the four points on the first slide. So let's talk about the features that's available for our socket. Our socket is a binary protocol. It's not a tech space protocol, so it's more efficient. And it's message-based protocol. So what that means is it has message information embedded in the same type of payload as your other payload. For example, we just talked about setup frame, right? We're going to talk about all the events, right? How does it check for the liveness? So there's a keep a live frame, and there are other frames. All those commands are in the same format as the others. They all appear as the same frame format. So that's a message-based protocol. And we just talked about bidirectional and connection oriented. So these three things, bidirectional, multiplex, and connection oriented, makes it really powerful. Now, of course, it's hard for me to demo the multiplex. I cannot think of a simple demo that can do that, but all these three make that really powerful. And of course, there's another point of the four interaction models that we have not talked about. And here they are. So the founders or the creators of this protocol, they were thinking of the patterns of communications between applications, between IoT devices, and they came up with different patterns for different models. One is our familiar request response, right? We all know what it is. The second one is fire and forget. Fire and forget is when you send something over, you don't care about the returns outs, right? For example, if you're writing something to the logs, you don't really care if it's received or not. So that's one use case. And also, I think for people who are familiar with MKTT, there's also that feature. And the third part is request stream. Request stream is when you send a request, you get a stream of responses, not just one, you have plenty. And the last one is a channel that's bi-directional streams. So the thing to remember is, even though there are four different types of interactions, you only need one connection. It's that long connection you established at the beginning that's going to serve all of them. You can have them together. You can have one by one. It doesn't matter. But that connection is going to stay there. And if it is disconnected, it's going to resume. So one connection multiplexed. So that's how multiplex works. So you have different types of streams. It's going to be using the same socket. So we've talked about the major features of our socket. And now let's drill down a little bit more. And that is what's the design principles behind it? Other than making it convenient and adaptive to all the application communication models, what's the design principles behind it? And that's a tough topic, I would say. But let's start with the name. We know what socket is. What does R stand for? R stands for reactive streams. I'm not sure if we all have heard of it, but it's a programming model that's been around for some time. Now, I'm not going to go too deep into that because that's going to stir a lot of debates and whatnot. But the two major design principles, and I think it's the design principles for all the distributed environment or architecture, is it focuses on asynchronous and non-blocking I.O. Asynchronous and non-blocking I.O. I mean, it's not hard to figure that out because you have things that you don't have control over. So the best way to deal with it and make sure you're resilient and high performance is to get around it. So you kick the one that's blocked out and you make sure the one that's not blocked can get in. So that's how you do it. Now, there are different ways to implement asynchronous and non-blocking I.O. It's not just reactive. That's the only one. There are different ways to do it. But what makes reactive streams stand out is the concept called back pressure. So what is back pressure? Let's go back to asynchronous and non-blocking for a minute. How do you implement that? How do you implement asynchronous and non-blocking I.O.? You need to query your operating system to know which processes are blocked, which ones are ready. You need to do that. Now, the problem is, what about the devices that's not in your control? What about the other devices, other services that you cannot query their operating system? You cannot do that. You cannot subscribe to an event and say, hey, the operating system on the pie tells me when this thread is ready. You cannot do that. So you need the measurement to know when it's ready. So that's what back pressure is. Back pressure is the consumer telling the producer, I am ready. Give me a couple of frames. That's what it does. Nothing else. It's a very simple, yet it is very genius design because what are the other alternatives? Either you do long pooling. Are you ready? Are you ready? Are you ready? Think about that. Effective? No. Or you do the other way. The consumer is saying, I'm busy. I'm busy. I'm busy. Does it work? Of course not. Because when you're busy, probably you're already blocked. How do you send out that signal? So this is a genius way of design. And I love this picture, these two pictures of how it describes back pressure. So when you don't have back pressure, when you have a surge of traffic, that's what's going to happen to the man. And then when you have back pressure, even though she's drinking from a bottle, imagine that's a hose and she's saying give me like two tablespoons. That's what it does. That's what back pressure does. Now, reactive streams has been around for a while. This concept has been around. So what does our circuit do to make a difference? So it turns out that back pressure, when it's originally developed, it's not enforced on network. So what our circuit guarantees is end to end back pressure. So what does that mean? Let's say you have more than two devices, like five devices. One of them is slow. You need to inform the other four. Whether they are in parallel or they are in the chain, you need to let the others know. If you are relying on TCP to deliver that back pressure, it's hop to hop. It's hop to hop. TCP has a sliding window, but it's at transport layer. It doesn't know your application status. It cannot query backwards. So it can only do hop to hop. And our socket can do it through message-based protocol. That information, that back pressure information is encrypted in the request frame, and it goes around the whole system. So it enables end-to-end flow control or back pressure. So that is, and that's how much I'm going to talk about reactive in general, because I know it's a broad topic. But that's the principle behind our socket, is to ensure your asynchronous and non-blocking IO goes all over the system end-to-end. All right. So next topic. And that's a little bit more controversial, is comparisons with other technologies. And the first one is what I always get asked, the difference from GRPC, because GRPC is very popular as well. So what GRPC has, it has two parts. It has an RPC part. It has a protocol part, right? What our socket is, it is a protocol. So it is not an RPC layer. Actually it works with Protobuf. So if you have generated your protocol files, cool, you can just port it over. You don't have to regenerate them. And it supports other encoding mechanisms as well. So now let's talk about our socket versus HTTP, which is a little bit controversial. So over the years we've seen HTTP2 and now there's HTTP3, and there's a lot of great features in vision. There's a lot of great improvements that has been done. We've seen server push. We've seen multiplex. Now HTTP2 is also binary protocol. So we've seen a lot of these things going on. And HTTP3 is more ambitious. And you can see that they are doing something that our socket has already implemented. So that's a great thing. And we like it because it not only validates our socket's idea, but it also means that the communication model has shifted from the original human browser to web server to application communications. So that's a great thing. But here's the thing. HTTP is a popular protocol. It has to make everyone happy. It has to make everyone happy, which means it's really hard to become truly reactive. Now let's take one example. Let's say there's a flash sale online, and you want to buy something, and it's only one minute. So you put this thing on the shopping cart. You wait for the time to come. And if this whole system was implemented in our socket, what's going to happen? So you're going to wait because that checkout button will not appear until the web server gives it a green light. So that's not the user experience you want. That's not the user experience the sellers will want. What they want is you keep clicking, keep trying, and only like 10% of them get the flash sale deal. That's what they want. So in other words, our socket kills the fund. It kills all the enthusiasm when there's human involved. And HTTP, though, has to support that. So HTTP cannot be truly reactive. It cannot truly embrace that high performance asynchronous non-blocking I.O. So imagine that user experience what it does to the system load. It creates a lot of junk connections. It's disconnected. It's a mess. But that's where it is right now. So our socket is not trying to please everyone. It's only designed for certain use cases, and we try to make those use cases work better. HTTP is well established. It has to support everyone. So that's the difference. Now, another comparison we always have to do is against message queues, especially in other talks, people always ask for Kafka, because I think I was mentioning the brokerage deployment model, and also because I mentioned there's a message-based protocol. But let's take a look at what happens when you have a surge of traffic and there's an imbalance between the consumer and producer. So the left would be your MQTT that's anticipated, expected. The middle one would be our socket. So that's what we have explained. So the right one is a little bit interesting. This is Kafka. So what Kafka does is it's going to cache all the data, and then it's going to still use the same rate, the rate that the consumer can accept to send the traffic over. So think about that. I mean, I work for a cloud vendor, and I love customers to buy storage and memory-based cache. I love that. This solution wouldn't scale. Eventually, you're going to run out of your storage or memory or whatever. So right now, if you use Kafka to connect devices, there's already limitations. Because of the partition it does, it cannot accept too many topics. So there's a limitation on the topics, and then there's a limitation on the device numbers. So that's where we are today in terms of comparison with MQTT and Kafka. But by no means are we diminishing their existence or trying to make them look bad. In fact, we're working on a couple of projects. One is adapters or gateways to MQTT. One is the gateways to Kafka. So as long as our devices can be reactive, we can have a better performance, we can have a better architecture, and it's going to benefit everyone. So that's pretty much the content that I would like to share. In terms of our socket itself, it's an open-source project. It starts from a spec. So the founders actually saw this through. They were thinking of different use cases for communication models, and they wrote it down. So there's an R-Socket protocol spec, and there's a routing spec which is for broker. And you can check out the website. Welcome to join us as community contributors. Right now it has different SDKs. There's Java, there's C++, there's JavaScript, .NET, and there's a GoLan. And we're working on Rust. So there are different languages that support it. And the exciting thing is we're becoming a member of Linux Foundation. We're going to have sub-foundation under Linux Foundation, and that announcement would be next Tuesday also. So you might get that notification if you subscribe to that. And yeah, during the conference we might have some release, press releases I'm not sure yet, but hopefully that's going to be enough information to get you guys the motivation to try it out. All right. So that's what I have for today. Any questions, comments, feedbacks? Yes, please go ahead. Exactly. Fantastic. Thank you. So you're thinking ahead. So the question was how do you scale the brokers so it can connect multiple thousands or millions of devices? So there are a couple of things. One is remember that one device has only one connection, and the connection is pretty small. So we've tried very conservatively one box can easily support more than 10,000 devices. So that's a cool fact. Another thing is when you have a cluster of brokers, you need to have a mechanism to synchronize them. And that's something that has to be done either at commercial level or you have to somewhat customize it. Right now we have a basic broker that's going to be open source. There are commercial grade clusters of brokers that's available down by a startup. So that actually you can basically have a cluster of a couple hundred, if not more. So what it does is it opens another port to each other, and then they are basically exchanging information using UDP, but it's still on our socket. So they're exchanging information in the same asynchronous and non-blocking way so that it doesn't block too much of their performances. So they have, I think they have benchmarked a couple of hundred brokers in the cluster, and that's fine. Other questions? Yes? I'm not sure about how small the devices you're talking about, but so the question is, does it only run on Linux-enabled devices or it can be smaller? So it really depends on your device. So right now we have SDKs returning those languages. So your device has somehow to be able to compile and run those code. You have to be able to run those code. That's generated. The binary is that's generated. You can compile it somewhere else and then load it. I don't know if that's going to make things easier, but as a protocol itself, our socket is not just for IoTs. Like I said, that's good for microservices. It's good for any distributed environment. It's good for devices as well. But it's not limited to devices. It's as long as it can be accepted on the device. So before coming here, I was trying to set up the demo on one of those surveillance cameras so that we can have a stream of videos. But then I realized that I cannot program on those things, and it's already pre-programmed. So if the device manufacturer supports this, then we definitely can have a better use case on those devices. Any other questions? All righty. Thank you very much. Thank you.


You think I put you here?   My son is not this dumb. I am not your son. You kidnapped me. Then made me think I was special. You are special, Jay. You're born of a demon lady. These people that raised you after she died did not love you. They used you and her body to sell drugs. Bad people. He killed them. That makes me good people. I killed bad people. Keep up! Alright, why am I here? What is this? You tell me, I'm dead. Why are you dreaming about me?  Not my mother! Sorry, sorry. I need to get out of here. Help me or leave me alone.  You push yourself here. How? Why? Because you don't believe in yourself. Remember? You can fly. What's there to believe in? I failed everyone. Not me. I knew I would hold you back. Look what you have become. A leader, a friend, white hair? I'm proud of you. I know, Jay. You can do anything. You can do anything. This was me figured it out. It's doubt somehow, someone like a literal representation of me. My friends need me. I've had enough. I want out. My friends need me. I want out. My friends need me. Let me out. Let you hear me? Me. I want out. Let me out! Let me out!


so I truly think the best thing that you can do for yourself is to allow yourself to ebb and flow and go through all the different stages and changes and experiment with different things that you're finding that you're researching you know sometimes we can we can read or hear about something and its peaks are interest right but like it seems kind of abnormal we think that other people might think we're weird and a lot of times they do a lot of people in my life think I'm super strange but you know I've come to the point where like I just don't really care because it doesn't affect them right like what I'm doing what I'm experimenting with doesn't affect them an example of this would be like if you want to sit there and work on manipulating smoke with your mind then do it


We are back in the crib and we have a very special guest in the building. We got brand man Sean in the building. He's a marketing maverick.  I've been following brand man Sean on YouTube for quite some time now and I've, I even have value and kind of follow him and really, you know, seeing the tips that he's given artists these days. So Sean, talk to the people. Welcome to the crib. How's everything man? What's up? What's up man? Everything is great. I'm glad to be on man. Appreciate you having me on your platform, man. Of course, man. Of course, man. And you have been helping countless artists for years now. So I wanted to, you know, kind of get, you know, you on the show to kind of talk to, you know, talk to you about like your journey and like how you actually got to this point because you're in a, you're in a, you're in a really dope spot in your career right now because you just launched brand man, brand man network. Yeah. As far as on this end, like you're in a, definitely in a dope place. So I want to start from YouTube. So when did you start your YouTube channel? I'll start here. I had a music festival that had been running for about three years, annually bringing about a thousand people out and we had grown that, that took a lot of energy. We grew it from zero to 1000, that first 1000, pretty much with no money spent on marketing, but just understanding and hacking algorithms on Instagram and all that kind of good stuff at the time. But you know, that's what I do, right? I'm in some real world promotions as well. And in that time, I'd always been around artists and helping out artists brandy consulting things of that nature, but I had to put so much more energy into a lot of other things that I was working in, that it was just an area I was given value in without making it a priority in terms of my own personal business. But then in a lull, when we decided to not do the festival for a period of time and there were some artists that I was working with, hoping to build their brand, but you know, artists hit their creative walls at a certain point, right? Anybody who's, I've never considered myself a manager, but anybody who's been through a management experience, right? Or even a lot of artists would be familiar with a period where artists are going forward, going forward or trying to gather some things, but the actions never add up for whatever reason. And then on top of that, they want to reinvent themselves, right? So I was working the most, the closest I was working on a day to day or let's just say week to week more so with artists, they had even taken a break. And in that period, I had so many people continue to come to me for advice because people would hear about the things that I would be helping other people execute. So it was all very, very much so a word of mouth. And it got to the point where I was like, you know what, let me just do this on YouTube because I was in a period where I was taking a break from all that other stuff and I was doing so much for other people.  That'll be interesting on my, in my extra time. And then I came up with the idea to try doing YouTube. I did YouTube really just to answer people's questions, right? Like, so I don't have to answer them over, over again, break them down in detail. My very first video was like that Fetty video, right? It was like just breaking down conceptually. So then if I show, if people ask me a question, I can say, hey, man, check this video out. And it was very much that I wasn't super heavily thinking I want to be this YouTube guy or anything like that. It was just like, yo, man, I kind of want to help some folks out. People always tell me that artists need a platform to learn some stuff from. I don't know everything, but I just, but I know what I like to talk about and what I know. So let me share some of that stuff. And that's kind of where it came off. And once I started seeing the energy, right?  She, she, uh, like commented on that video was like, Oh my gosh, this was amazing. Like this is going to go viral. And I was like, even that was like a little inspiration.  But that's, um, like just little random stuff at that time, man, because it wasn't supposed to be a business or anything like that. Man, that's, man, like to kind of hear like how that, that whole thing transpired and it really started from you doing tactics from the promotion of the festival. Would you say that because I tell artists this all the time and I tell people that actually want to work with artists this all the time. And I, and I tell them, there's no way you're going to learn how to be a manager. There's no way that you're going to be able to know how to market your music unless you have hands on experience doing it. Like, you know, um, like just perfect example, like someone that's wanting to be a manager. Like I say, Hey, like you're going to have to know every, you know, every aspect of the business and you're going to have to do it hands on before you, you get thrown into working with someone. So would you say that you're like one of the ways that it helped you kind of branch off and kind of learn the stuff that you, you've learned was because you were doing it hands on at first with the festival? Would you say that that's true? Yeah, man.  Like I said, I've been advising artists in one way or another for a period of time, even before the festival came about. So I've always been in and around it and doing it, whether it was small projects, just helping some friends or some other folks that heard about me. And then the festival, though, like that, especially a project on that scale, it just, it just helped fine tune things. And I think it's better to be able to have certain experiences from different categories, because then you can codify them into whatever you're going into, right? If you decide to just settle on just marketing, you just settle on just management or whatever for a period of time. Like all of those experiences, especially in music, are transferable. Like festival, I got a sense of, you know, attitudes of artists were at, you know, from a whole different point. Like usually I'm just helping them and blah, blah, blah, blah. But now I get to see the other side where artists are looking at me as a lick and how they approach from that standpoint. But then also the lack of professionalism for so many artists and even bigger than that, which really helps my channel was just the perspective that artists take, right? But then I can see the things that they're lacking in or the expectations they have versus the reality of what it's like. You know what I mean? Exactly. So I was able to get fine tune on both sides, definitely understanding the professional side, definitely understanding the other side, because one side have those two and then I couple it with. So my brother, he was a Grammy nominated, right? Well, just a part of a collective that was they were Grammy nominated. Oh, that's what's up. One thing that I learned was when I was because I was technically not even in music at this time. I was like, I wouldn't take call myself in music. I was actually kind of trying to run away from it. But that's a whole another story of marketing as well. But that, yeah, like I said, that's another story. But when I heard he was nominated, right? And he was still living the life that he was living. I had to do some math, right? I was adding things up just the way I think I'm very logical. And I was like, this don't make sense, right? Exactly. Based on the perspective you have growing up, like you Grammy nominated. Oh, that's like life changing.  And what I saw that, you know, like, you know, it was it was lucky and fortunate for me to have that perspective before I even went into it seriously.  You know what I mean? On top of a lot of my experiences working in just other projects and industries and things like that. So it was like, now these numbers don't make sense. I already understood heavily, like, like growth hacking with marketing, how to like completely measure what's true and what's not. What's the source of where the true impact is coming from. So all those things I was just like, yo, a lot of this stuff that people think it is like, this isn't this ain't right. You know, like, how can I help people understand that y'all are far off? Like, so the music business is in the entertainment industry.  Yeah.  And that's what gets people messed up. So true.  So I'm glad you broke that down because I think a lot of people have a misconception. And I think people, especially obviously listeners, like listeners have no idea how like most listeners don't have no idea how the music business works. And then there's a lot of artists that come in and they don't know how the music business works.  You might meet with an artist that has been in a game for almost a bit in a game, but like, you know, has been recording and releasing music for years, but they don't know how publishing works or they don't know how certain things work. So it's kind of crazy how misinformed both people on the outside and in are within the game. So I want to ask you, I want to ask you something. What's one of your biggest frustration with artists today? Oh, because I know you you actually talk with a lot of artists all the time. So it's like, I know that there's some common thread that frustrates you about how they think or what they do. What's one of those things that you would say that frustrates you the most about about artists coming up today? I would say entitlement and especially not knowing and being able to see their own entitlement is like to be even worse. Exactly. Man, that, you know, when I was when I was thinking about that question, I didn't even like, that's not one of the first things that I thought about. But man, you're right. That is crazy. So so tell me like, because I know on your I was looking at your YouTube channel and I saw that like you were very adamant about not managing artists. Like what's one of the things that would that that's that's kind of shying you away from managing artists? One, that's just a lot of responsibility straight up to take over somebody's life. That's that's what it essentially is.  Unfortunately, many managers end up becoming a parent. That's right. You're right. Right. And that comes from some of those other things and the entitlement with artists. As a matter of fact, I have a perspective on that. I'll get to that in a second. But so but like just having to really push people along, right? Some artists are being dragged over the finish line. This is supposed to be your dream for you. And now you need to push you every step of the way. You don't want to work. You just want to be in a studio and a lot of that but comes from them not understanding that it's so much more than their talent, right? So that's that's one perspective just from from that. But then literally just the responsibility of it, right? And me not feeling that personally, I'm not in a position where I can even do that, where I can count on you. Yeah, somebody I really, really, really, really no count on. Like I like believe in and understand that work ethic through and through, probably like a childhood friend more than anything for me to have something like that. Just because like not only in you are you putting all this trust on me to oversee your life? I'm really, especially if this is how I'm starting to come and like if I might come up, I'm putting everything on you too. Yeah, you're right. So that's just a tough relationship to me. So it would have to be so, so, so, so right. And I also believe what I could, there was a path that I started to take that was very management oriented and also like label exact opportunity oriented. But then I started to recognize the opportunity for what I'm doing right now, exactly, YouTube and that other side. And it makes so much more sense for who I am, how I think and being able to impact multiple people at scale and provide resources and connections and proper information as opposed to just holding on to one situation. Because also once I start down that path in a lot of ways, like certain offers or or jobs, like that just creates a certain conflict of interest, right? I can't be working with this place and then dropping all these videos a day talking about such and such things like, yo, like, bro, what you doing? So like that created space as well, honestly. But but yeah, like just back specific to the management is like that with the artist, like that whole trust relationship thing. And even that, outside of that, just I would love to have more of a sense of my own system. I always say maybe for one, if I had kids, like once I go through that, I might it might make it easier for me to like have an artist. Yeah, yeah, yeah, I'd be more in that mentality. But then even bigger than that, like continuing to build right and be patient with my own path and career, where maybe one day I might run into a talent and then I'm like, yo, I really believe in this talent. You know, maybe fact check them a little bit, make sure they got a got the character and all those things in place. But then say, you know what, I'm in a place where I know such and such, I know such and such, I know such and such. I I have such and such amount of money. No, let me guide this situation, maybe at least up until this point. You know what I mean?  There's various ways to do that. And I could still not do that without being a manager. Right. It's like the professional world in general. There's all these set paths there's been and not only did it not match up with my personality once I started to get a feel for it, because I've been around some really dope dudes in terms of like managers. I'm like, oh, this is a manager. Like, when you see a dope one that lets you know, like, ah, am I going to am I going to be like this? Am I going to dedicate? That's not me, but I do this thing as much or even more than he would do. So like, and I'm all about finding my space. But yeah, like understanding that traditional path that was in the industry is not just for artists, it's for the professionals as well. They don't I don't think it's talked about enough on the professional side that it's just as open for the professionals to do whatever they want to do and pave new lanes as it is for the artist. You 100 percent right. Yeah, that's that's one thing. And and really just to bring it back full circle, because I know I mentioned I would touch on this earlier part of that whole entitlement that artists have. I truly believe is only a symptom of really the industry itself. The industry made it that way. It enabled artists to have a certain type of behavior and be entitled in and to like feel like you're supposed to serve me. When you're the entertainer, you're supposed to serve your audiences, right? It's not all about you. Yeah, yeah, yeah. You feel like it's all about them, right? Because that's that same mentality right that kept them from wanting to seek other things like ownership in their own stuff, right? We we enable them, we sue them. So now they're in a space where they're good. Their whole world feels like it's about them until the money runs out and they realize the label controls everything. The label has all the access to the data, to the fans, the label. You know what I mean? Like has the ongoing world sees an income or the majority of it, right? They've been doing all the business while we've been having you out here thinking it's all about you. You're enabled in like that. That environment, I think, was very beneficial for the whole industry. Yeah, you know what? Speaking for you to actually say that, like that's kind of what's crazy is, is that because I'm in the business and I have a certain kind of viewpoint on things and it's dope to kind of hear that because I really never thought about that. Like I never thought about how you like, you know, and I agree with it. I think there's a lot of things that happen or, you know, the industry. It did allow, you know, as far as it to actually happen that way, this way. So I want to get I'm going to I'm going to get some more of your takes on this. We're going to go into into into the mix and tell me real quick, what was some some some music that you're listening to right now? Oh, I hate this question. I always forget about folks. Oh, just just tell me just tell me. Yeah, the last thing you listen to. I'll say the last artist that I heard recently that struck a chord with me was the artist by the name of Yellow Payne, Y-E-L-L-O Payne. And yes, he has a couple of songs worth checking out. OK, OK, OK, that's what's up. OK, it's good to know, because like obviously you're you're when you're on when you're on when you're on YouTube, you're you're very unbiased. So it's like, you know, you actually mention artists in a case study type of a scenario, but never on the music side. So I'm going to get some more of your music taste when we get back. You're tuned in to the crib on Dash Radio. We got a brand man, Sean, in the building. We'll be back with him after this mix. Let's go. And we are back in the crib. We're still talking with brand man, Sean. He's he's dropping knowledge. And I and I hope the artists that's tuned in. I hope they actually are really kind of soaking it in. And obviously anybody that's unfamiliar with your channel to go check out the interviews and all of the the content that you actually have on your on your YouTube channel, speaking of interviews, I want to ask you about the interviews, because you've had like a lot of dope interviews when the day you've been interviewed. You it's it's it's so many people that that that I've actually been able to kind of get so much information from and so many people that I've never heard of before, but, you know, that I was able to actually get knowledge from. So tell me some of your favorite just just a few of your favorite interviews and maybe some like something that they wanted the gems that they dropped. One of the interviews with T.J. Chapman, the B.O.B. manager. Also manager, Crabbeco. And one of the gems that I really enjoy in that interview was actually just him talking about diversity, B.O.B.'s diversity. And the reason I enjoy that so much is because, man, I hear every single artist always talking about they want to be diverse these days. I'm diverse. I want to be like this and that and and that's just what I like. Because now it's become a cool thing, right? Like, I listen to everything. I don't like, you know, everybody thinks that it's not true of like for like 99% of people, but everybody thinks and desires to do that. But I always try to take the picture of just from a business standpoint, a logical practical standpoint, it's hard to just come out to be diverse. And even if you do, it creates a lot of struggles. So T.J. having B.O.B. as an artist, one of the most truly diverse artists, not saying the other artist might be ability, but put on a large scale of success in multiple different like type sounds and categories. He walked through really how B.O.B. can win a lot of times when it comes to dropping a song, like one part of his audience will hate it.  Like come at it hard because it's so they're so diverse, right? Because he has these songs where he built audiences around these different songs and makes it hard to maneuver in some ways where, you know, you have your favorite artist and they might have a song. Sometimes we're like, oh, they doing that other thing over there. I'm not feeling that or this song ain't for me. But literally B.O.B. is going back and forth between both sides of his fan base and he's a sellout. You know, like that extreme and really, I mean, there's more than just two sides to his fan base. So just really the fact that he was able to like for real, paint it out like use case wise, this is what how hard it is on that. And that that was interesting. And then Ryan Leslie, when I never, yeah, that was a big one. Yeah, yeah, that was dope. And I I love it when it comes down to it. I'll just I'll just say I'll love the fact that he talks about the power relationships, connections, the fact that he thought he was supposed to be, you know, the most talented musician there was in the world, you know what I mean? On some prints playing 27 instruments type stuff. And that was why he got so good. He thought that was the way to get in. But then he realized music wasn't wasn't a meritocracy, right? That's part of that escaping from the childhood fantasy of what it's like. You know what I mean? And realizing that, you know, there's talent. That's a portion of it, but it's the music business. So there's a capital portion of it. There's a connections portion of it. And then just handling the business from the execution team portion of it. They're really encompasses the whole thing. But so from realizing that and then realizing the value of relationships and he has a formula where he basically speaks on the the the potency of a relationship depends on two things, which is proximity and frequency, which is simply how close am I to you, right? Like physically, right? How often do we see you physically? And then how often do we come in contact, right? Like how closely and how often do we come in contact? Of course, because of technology, you can hack some of that through like, oh, we just we text often or we talk on the phone every day. We FaceTime some of that. But even if you think about how many relationships you gain just because you work together or you went to school together, you but they normally probably wouldn't have happened, right? True. And the fact that he's building technology around keeping that experience at scale. That's interesting. And I like and I love the fact that he kind of broke it down into a formula because it's so relevant. It's one of those things we sleep on and it just sounds good. It's like cliche, the power of relationships and things like that. The value of the people around your network is your network. All that stuff is cliche. However, cliche is repeated a lot because cliche is have some truth in it. And people tend to ignore the common sense truth because execution is the hardest part. So I love the fact that he broke that down into this concise formula. Most definitely. So I want to I want to talk to you about the brand man network now, like as far as the. So I want to I want you to tell the listeners what the brand man network is and the benefits of joining the network. All right. So number one, brand man network is a platform that connects artists with the community and resources to help them develop their brand and build their fan base. Those are the two primary things that's the focus. We want to help you get your brand fine tuned. Like if you're a brand, we have one workshop in there where you don't have a brand is going to get you like nice, real nice. And you already have a pretty dope brand. I guarantee you, your brand will still be sharper coming out of the other internet workshop. And then the rest of it is also, once again, helping provide tools and resources to actually help them build a print of a fan base, right? For real, practically real fan base. And we do that in a few ways. All right, we have the workshops, as I talked about, right? And even just some hardcore like courses, because we want to help them be able to do this for themselves. The New Age, right? Has all these independence coming up and for an independent to be able to be successful, they're going to need a couple of things, which is pretty much the same thing. Even going through a label would need artists would need, which is connections, capital and proper information. Right. And of course, as an independent, you don't have access to the label, which can expedite your connections, right? Those the label, you borrow connections, you borrow capital, basically all those things that you need, you need to borrow information. So we're providing those things where like, Hey, man, like if you have a team, your team needs to sign up and everybody needs to be on the same page, have access to this information, because your marketing guy needs to know how to market music specifically on Facebook ads. And we have, okay, we got that. We got Facebook ad course. We're building out the YouTube one right now. But it's not just even those general courses. Like I said, there's specific workshops and I promise you, this is different than a course. This is different than watching YouTube videos. Like you can watch two years of my YouTube videos or just random information online and you probably wouldn't make as much progress as four months going through the workshop series. So it's guided versus I watch a YouTube video and I'm trying to take in this random information. I'm trying to figure out where this tip works in my own process. We help guide you through a more specific process and even help provide some systems. That's another thing. And then so, so you have that, the course slash workshop. You have some private videos that can't be online because sometimes, you know, people just can't talk about certain stuff on a YouTube level or then there's some other things that are just exclusive because it's easier to go deeper in that platform versus YouTube, where sometimes you honestly have to talk about some trivial things just to keep people's attention. And then one of the best things, most valuable things are weekly Q and A's with real people, right? Hopping on calls and you can talk to me currently. So like, you know a little bit about me, right? I've worked with artists in several, you know, yeah, I worked in artists in multiple genres and I got some like a tech background, helped build some companies to the point where they get millions raised in capital and things of that nature. I just just helped not, not be guys, but and then you have people like currently guy who goes by the name of Kory the savior that's his online Instagram, right? Kory the savior and Kory, digital marketer, Spotify playlist expert has clients, a festival co-founder, one of the founding members doing his thing heavily as well. These are people that do it. You have Russ B. He's no longer at Island Records, but he was at Island Records for a good minute, has been at Deaf Trent Jam. He's the GM of Rapsast and he's doing some account management or big social media for some pretty big artists right now. So these are like real people that you get to talk to and that's just currently and at the beginning of the network, we aren't even that deep in there. You're going to be a lot of other people. You have resources coming real soon, whether it's resources they're offering to the network that you'll have access to for free, all these things or whether it's them actually being someone you can talk to from a call, right? There's so, so, so much coming into the network. We're only like five, six weeks out. To be honest, and there's so many things I can't talk about completely just because you know, you got to get things on the dotted line, but there's a lot of value coming into the network. And this is the way I like to look at it. Just I talked about a lot of things. I want to summarize it. You have a video space exclusive videos. Trust me, they're not just regular. I'm on YouTube videos. They go deeper or they touch on things that you don't hear people touch on other places, including me on my YouTube channel, consultations, basically with the live Q&A where you hop on to talk to people like you can get in context. It's not like I'm typing in my YouTube comment hoping they answer my question and they don't even know how deep my situation goes. I'm talking about a play of music, pull up your Instagram profile. All right, what's going on? What did your manager say? What's like, and we go back and forth for real, for real video chat. So and then in the courses space alone has an extreme value because it's guided and it's touching on these Facebook courses and things like that, that people charge thousands for. But going all the way back to just the consultation piece alone, right? Right now I'm going for about three hundred fifty dollars just to be transparent. Exactly. Right. Um, and I was doing this discounting for a period for like a hundred dollars, right? And even if you want to go to that low, right? A hundred dollars is for an hour. And what you might have, this happened to one artist. We got on a consultation, potentially real dope guy. Love what he had going on. He was part of a brand session, too. And we went through all this information and got his plan right, but then probably like two, three days after the call, he had a big company reach out to him. And, you know, he wanted to know what was up and blah, blah, blah, but he didn't have the money for the consultation. Do you get up there? Like those, and because stuff can change so fast, it can change so fast. New opportunities for our newer artists. More important, it's just a one-off call. Because, you know, when you have so many things that you need to do, like, there's just too many factors and too much stuff that can change things. More important than just one one-off call, not to say that a one-off consultation has no value. It definitely can. But more valuable than that is ongoing guidance. So instead of a hundred dollars for one hour, right? You get five months of access to Bram and Network for that same price. And in that five months, you can talk to Sean weekly, you know, Bram and Sean weekly. You can talk to Rush B, Corey and like multiple times as artists in five weeks, I've probably been on seeing them in like 10, 12 calls already, like leveraging and I can't be mad at them, you know, using the resources and using as much as possible. And they're giving it to me every single thing and I can keep updating, oh man, since this last time we talked, this happened, right? I couldn't do that for, for like a cheaper price. Exactly. Like on a one-off basis. I couldn't talk to a lot of people on a one-off basis because it just wouldn't make sense or be worth my time. But this is about how do I create an environment where artists can get as much support and much access as possible, right? Without it not being a charity. You hear what I'm saying? Exactly. No, I totally get you. And this is, this is dope. So, so question, I just want to get just so because I know there's going to be a lot of artists that are going to, you know, ask about the actual payment structure. So is the payment structure for the Bram and Network a monthly? Can they pay by the year? Can they pay by 10 months? Like, how does that, the payment structure work? Right now, it's only available in monthly payment structure. Got it. Looking, you know, by the time some people get on and check it out, it might be a year and monthly. That's the whole, the goal is to add a yearly payment structure as well, just in case people want to do that. And of course, you know, usually the yearly payment structure it gives a little bit of discount off the monthly price as a whole. But right now it's just monthly as of this conversation. Got it. Got it. Got it. OK, so most definitely. So this is my thing. My anybody, any artists listening out there, like there is a lot of value what Sean is bringing.  So you guys make sure you head over to brandmannetwork.com to to check this guy. Because I mean, what you're doing is so valuable because and that's kind of why I wanted to have you on the show, too, because I wanted to know because I get a lot of people in my DMs saying, you know, they want to get a shot. They want, you know, they want to have me hear the music. They want me to manage them. They want me to do whatever. But it's it's one of those things where it's just like, I don't really don't have the time, you know, to, you know, have a situation where I can work with everybody. I want to work with as many talented people as possible, but I don't have the opportunity to do so. So I think what you're doing is is is dope because you understood that, OK, you know what, these these one off consultations aren't really and you know what's crazy is you could have kept doing the exact same structure with the consultations. And I feel like and correct me if I'm wrong, but you actually switched it up because you want to help more people and you want to be more of a help instead of being a situation where it's just you are just taking people's money. You know, I'm not saying that you weren't yet that you that that's what you were doing before. But you want to help as many people as possible and spread it out. Am I right? Hey, man, you you got some kind of intuition, man. But you read that perfectly. Perfect because because I could tell and that means that because like, you know, there's a lot of people in this business. They're they're sleazy. They're they're like they just are about the money. And I could tell it's not about just the money with you. It's you're really you really care about the art of the music.  So it like people got to understand that people like you in this industry is few and far between. Like there's there's not really a huge amount of there's not a lot of people in the business like you, you know, because like there's a lot of people that they they come in, they come out and, you know, they just really in it for that quick book because they see how much money is coming in the game. So with that being said, man, I hats off to you. I have I have another question for you before we go. What's one of the things that you think is going to happen in the industry three years from now? Or, you know, that's coming that hasn't come yet. But what's one of the things that that are that's in the industry that people should be looking out for right now? All right. So there are multiple facets of this. All right. So one I should be able to say this part pretty short and sweet is just the rise of the middle class artist or the livable wage artist. Right. All that we were in some sense. But I think it hasn't really calcified in people's minds that being an artist doesn't necessarily mean being Rihanna or being some big star million there. We're now because of all these resources in the lower overhead and the access. We're now going to have a lot of artists that, I mean, they're making $30,000 a year, $50,000 a year as an artist. And from so many people, that's a failure.  True. Right. So that's one thing that's going to change as people artists are really going to start to take on that mentality. And some of some of them are going to actually accept that mentality and even start thinking of it as a way of, OK, I'm doing this. I'm a livable wage artist. But then, of course, just like a regular professional career, you start to work your way up, though. Say, OK, I'm working this job. I got entry level.  So a lot of artists will say, OK, I'm going to focus on this first level. I'm good with this regardless, but I still want to try to figure out how to move my way up. But that in some ways will create a sense of a bubble, at least mentally in the industry, just from an artist standpoint. Now, I don't know how much it'll affect the actual industry, actual industry. I don't that. Yeah, I don't I don't know, right? Particularly when you talk about the more formalized, labeling on that stuff, I think they'll be good. But from just the mentality of a lot of these people who are willing to be an artist, just to be an artist, or they think it's cool. You know what I mean? Like there'll be a bubble burst more personally, individually. So it won't hurt the industry. I don't believe as much, but it will hurt. You'll start to see a lot of individuals kind of like this other dude who, you know, where it comes out. Oh, you were getting money from this and you weren't an artist. You were supposedly allegedly scamming money and things like that, right? To push your career along. So it'll be a lot of people and even influencers in general, where it's like their life is not adding up with what they think it should be or other people think it should be in that part or be exposed. On the other hand, because of this more formalization and professional outlook that a lot of artists have, and as the industry starts to mature, there is going to be more formalized structures on the independent end serving them, not just from a distribution standpoint, but even things like brand that network artists will be more and comfortable with the idea of paying for their education outside of school, which is just a more, you know, that's like a whole different game that's being sold to artists, right? But when artists think about music, they say, oh, man, you know, I see these artists popping, they're blowing up and they're doing it off of a viral video, which obviously we know that a lot of these videos are viral by design, not by just luck, but artists will stop thinking and seeing that. They'll start to say, no, I'll invest in my education this way in the same way I would invest in the school. And that's part of the reason for brand that network, right? There'll be more of things similar in that direction. There already are some like that are similar or serving different audience in different pockets, right? But artists aren't really ready for it yet because I hear artists all the time saying, if I can get this information out here for free, like what's the point of doing this other thing? But you don't know that information is quality, you know what I mean? Or this infrastructure and its surface level is even if it's deep, you don't know how to apply it to yourself. Yeah, you need guidance. What's applicable to you? Like me reading about like all these books on how to be a CEO when I have a business is irrelevant. You know what I mean? Like all these things are operations, but I'm doing marketing and branding over here. And I'm not involved in that. It's irrelevant. It's just like, OK, now you know a lot of stuff, but you can't move or anything and apply it to yourself. So you more structures that help artists do that at scale, I think will come because it's something that's needed, especially when you talk about the education system, education, traditionally college, they don't serve artists. That's true. They don't serve artists at all. Like these music thing, a business courses and things like that. If anything, those are more designed for the music exact, right? Or I want to go work at a label and put my work aside than an artist side, especially a rapper side. No, there's no college. I guarantee you trying to figure out a build out the curriculum to better the lives and increase the chances of success for a rapper. You get 100 percent, 100 percent, 100 percent. Man, you're 100 percent right. Last thing, like it's crazy because like we could and I think I might have you have to have you come back on a show again just to kind of drop some more gems, especially once, you know, once the website gets a lot more steam and so forth. Question, what's one piece of advice that every artist needs to understand if they're really trying to be serious in this business? What's the one piece of advice you can give to somebody right now before they jump on brandmannetwork.com to actually sign up? What's one of the pieces of advice you got for them? Oh, I would say nobody owes you anything. No, that's a good one. I say that not to be like generous, like general or sound good. I say this because truly as an artist, I promise you it would apply to you in many situations where you reach out to somebody and you think that they should reply. It starts to feel a certain way and trust me, this happens to everybody in the industry period at some point and probably still having the people that you think are successful that are reaching out to people or or think or have some expectations of people and the actions or what's happening isn't aligned with that. And a lot of times that slows people down. What you have to do is sometimes to get to the point where you know I'm going to keep moving forward regardless and not not over index on what I think other people should do for me. Not only because, you know, you need to be self-reliant and all that stuff, but a lot of times people get in their feelings and I say this as in I feel it all the time, too.  I know I do it to people where I might be like, I might open up a DM. Oh, man, that question is way deeper than I thought. I don't got a quick chance to answer that. And then, you know, now when I go back to my DMs, I got another 50 other DMs and I'm doing all the other stuff for my life and I don't remember, right? It's nothing personal. I just don't remember. I miss it. Or I'm trying to get back to you. And like, there's there's so many things that aren't personal to you. And but we personalize a lot of stuff because ego, that insecurity. So if you just remember that people don't owe you anything in the first place, it'll help, right? I'll say that I had one situation. I would say this last thing in relation to that. I had one relation where I was like, yo, this girl is super dope. She's doing her thing and she's not even like an artist, but she's in the industry. She does like interviews and things like that. I'm like, she'd be killing it. I mean, she'd be consistent for so long, too. And she hasn't even blown up to like a huge scale yet, but she's still doing it. And I just want to reach out to her and let her know how dope I thought she was. I go into my well to DM her and when I DM her, I see she messaged me like two, three months prior, asking if she could chop it up and like interview me. And I'm like, oh snap. Like I like I missed out on her DM, you know what I mean? And I hope she's not in her feelings or anything about that because I know how that goes. Exactly. Because I'm literally because I think she's dope. And I don't even know that she already tried to reach out to me. That is crazy. It happens all the time, though. Like way more either like it just happens all the time going both ways. So it's hard to that that ego thing is your most vulnerable thing when it comes to moving and dealing with so many people. Man, that's that's invaluable advice for folks, man. Like like I said, man, it's definitely a pleasure chopping it up with you. You know, I could I always get a sense of people that are coming at this business, you know, with with a genuine heart and not really coming in like, oh, how much money can I make? How much money can I make so I can kind of do the next thing? So my hats off to you, man. And like I said, I want to continue to support what you're doing. So please keep me in the loop with everything you got going. Whenever you're about to launch the next arm of your of your business. Let me know. I would love to have you come in to talk to the people because like I said, I have a lot of artists that actually listen to the show because they want to either get their music played or whatever the case may be. And I think this information is going to be super, super valuable for me. So thank you so much for actually coming on the show. Any anything that you want to tell tell the people. OK, well, first, one small thing, that thing you say about delivering with, you know, a genuine heart, I appreciate that. So I definitely try to approach things that way and not just being out for the bag. I can say I'm not about not like, you know, I am about getting my money. I believe everybody should be accountable and treated fairly.  Exactly. Do it with integrity. I might be doing it just for the money, but if I do it, I'm going to do it right. That's more important. We need more of those people in life in general. When it comes to following me, brand man, B-R-A-N-D man. M-A-N. You can find me on my YouTube channel. I encourage you heavily to check out brandmannetwork.com. The goal is not just to get the information, but also see how you can apply the information to you, execute that information and actually change the level that you're at with that information. And that's an alignment with what we're trying to do and help artists with in brandmannetwork.com. So go check that out. And other than that, you'll find everything else that I'm connected to through those things. Man, like I said, thank you so much for stopping by the crib. You guys have been listening to the crib. If you are an artist and you found this information valuable, make sure you hit them up.  If you don't respond quickly, but just make sure if you really want that one-to-one contact, make sure you sign up and join brandmannetwork. Like I can personally vouch for it because I, you know, somebody that's been in the business for as long as I have, I don't know everything, but I know when people know what they're talking about and Sean does. So make sure you guys check them out. Once again, thank you so much, Sean, for stopping by as far as on the crib and giving us a giving us a call. We really appreciate it. And you've been tuned in to the crib on dash radio. Let's go. Remember, check us out every Sunday. We're at a new time. We're on at Eastern time, nine p.m. And we're on Pacific time, six p.m. So make sure you check us out every Sunday. With that being said, let's go.


Hey everybody, welcome back to Magic Orthodoxy. My name is David and this is the deck review. Hey, today we're going to look at the Memento Mori deck from Art of Play and Dan and Dave. All right, so what is the Memento Mori deck? This is a very stunning deck that was designed and created by a gentleman named Michael Matejko and he works down at the Combo Creative. And I don't think you'll have to look very close at this deck to notice that everything has been completely redesigned and transformed. All of your traditional suits have been reimagined. So now they, instead of the traditional suits like clubs, heart, spades, diamonds, now you have stars, swords, flies and feathers. Each one of those is a symbol of order, aspiration, chaos and scavengery.  One side of the tuck ace has Memento Mori, the other side says designed by Combo. The bottom has some ad copy for Art of Play. At the top you get an original tuck seal and the back design of course is the back design of the cards. The tuck flap has the all-seeing eye and that is pretty much it for the tuck ace. Let's take a look at these cards.  They do have a modern cut and air cushion emboss and if you'd like to learn more about stock cut or finish you can click the link below in the description. Back design is that same haunting eye there in the center and it's surrounded by these concentric circles and then you still get a lot of those strange framework just odd just odd imagery it makes for a very haunting deck. You'll also notice that you have a medium poker border. Now the one thing I don't really love about this is that you have red faces all the way to the edges. You have red bleed on one side and then a white border on the other. Magicians we know that this doesn't really hide reverse cards very well. However, just because this is a redesigned deck and you don't have the standard suits or quartz or anything I wouldn't necessarily recommend this deck for magic or for gameplay anyway. I think these cards won't be recognizable to your audience and so this is probably only a collector's deck.  Also with this deck you'll get two extra cards you'll get one for the combo creative and one for art of play. Now like I said earlier each one of these suits has been completely redesigned. The imagery adorning both the cards and the ominous embossed huck call attention to medieval existentialism the occult and divine mathematics and believe me when I tell you this uh you're you're not going to believe what these cards look like. They are some haunting imagery very strange and I think they'll only appeal to a certain amount of people. This deck was only limited to 2,500 decks and so this is something you want to pick up. I would suggest you head over to artofplay.com and check it out. All right so that is my review of the Memento Mori deck from Dan and Dave Art of Play and Michael Mateko of the Combo Creative. As always we ask that you like this video just so other people can find it faster. We also recommend that you subscribe to this channel just to stay up to date on the latest in cards and card magic. If you want to follow me on social media you can. I'm at facebook.com slash magicorthodoxy twitter.com slash magicorthodoxy instagram.com slash magic underscore orthodoxy and if you need more content you can always find it magicorthodoxy.com. Thanks bye.


Taxi, I don't know if they know how to rent a car, but someone works for their car. I collect them and I pay the money of the fast.


As we are celebrating International Women's Day, it is very important for all of us to understand about women's health and vaccination. So, Michael Cancer Vaccine, we all know we can vaccinate females during 9 to 45 years of age. It is very important that it is taken early in childhood. Another aspect is pregnancy-related vaccination, which is mostly we know about tetanus vaccination. But flu vaccine and other vaccines are also there, which can be administered safely in pregnant ladies. Yes, after your doctor's consultation, which vaccines are actually required. So, stay safe and stay healthy. This is my message to all ladies globally. Thank you.