Hi, everyone. How was lunch? Doing OK? Yeah, ready? Is your brain energized? Are we good? Someone told me that Room B here is where all the, there's been a bunch of exciting talks here today here in Room B, so I hope that. I hope that we'll still have some fun here. So this is about delivering heterogeneous architectures. Obviously, we're at the Cloud Foundry Summit, so we're going to talk about how Cloud Foundry makes this possible and even fun. Hopefully, how Cloud Foundry makes it possible and fun without anyone from IT or operations losing their minds when you tell them you want to try out a new programming language, which I'm sure no one here has ever, ever tried before. So I am curious, how many folks here can say with certainty that in your production environment, you are only running one programming language right now? One person, two people, maybe? OK. And then how about two? Two programming language running something important in your production infrastructure? Three, four? AngularJS counts as a programming language, so anyone? Five, 10? There we go. OK. So a handful. Every time you introduce a new environment, you introduce the need to manage that environment and have some understanding about how to do it. And that's where a lot of pain can come in, but I think that's where Cloud Foundry's architecture and specifically the way that build packs work end up saving us from a huge amount of that pain and saving us from a huge amount of what would otherwise be manual labor. It's not just about the pain and the labor of managing those environments, though. It's also about making sure that you have flexibility and freedom. So I'm going to try and show you why Cloud Foundry provides that flexibility and freedom. And we'll see how that plays out. A couple of important things, though, maybe even more important than that. Who's on Twitter? Anybody have the Twitter? It's 2016 now, so maybe if you have the Twitter. You can follow me. If you disagree with things I have to say, that's cool. You should post it on Twitter. I'll retweet it. We'll see how that plays out for you. If you disagree more vehemently, this is my personal email address, and you can email me. If anyone's into writing screeds, this is your opportunity. I make no guarantees about how quickly that screed will make it from my email to Twitter, but you can give it a shout if you want to. I write things on the web at kcwest.com. It's also a place to find other ways to reach me. Maybe if Twitter is too new of a technology for you and email is too old, maybe LinkedIn is somewhere in the middle and you can find me there if you want to. If you're really on the bleeding edge, I suppose you could probably follow me on Instagram or something if you want. What's that? What's my Slack channel? That is private, sir. Yeah, it's slack.cloudfoundry.org. You can totally find me there, actually. And then I work at this company called Pivotal. They allow me to fly around the world and give talks like this. I appreciate that. Hopefully you appreciate that. And because of that, this is my appreciation bullet point for Pivotal. Thank you, Pivotal. So heterogeneous architectures are real. By show of hands, we sort of demonstrated this today. I believe I had one actual hand raised when I said who's running one programming language. Most of the organizations that I talk to, when they only run one or two programming languages or one or two runtime environments, it's because they feel stuck. They got into this rabbit hole with Java and a specific application server or with.net on Windows and then they feel like everything has to be that way because that's the thing we know how to manage. And that makes sense if you have to manage it all yourself. But hopefully you don't. And hopefully you want freedom of choice and you have that opportunity. Also, not everything's done that in Java, right? So who's rocking some Ruby right now? Or some Python? Or some PHP? Or some Perl? There we go. Or some Rust? No, go. Yeah, all right. Et cetera, et cetera. Yeah, so you want freedom of choice. You wanna be able to use the right tool for the right job, right? So how do you do that? How do you do that in an operationally mature way, especially in a production environment where you need some guarantees and you need some consistency? So I think Cloud Foundry has an answer. And even if you're not doing it now, I'm here to tell you that heterogeneous architectures are possible and we'll see how. And because of that, I believe that we are now at an age where middleware lock-in is dead. You don't have to be stuck on a specific environment, specific runtime tied to a specific web application server. You don't have to do that anymore. Right, so if you take nothing else away from this talk, take away the fact that you are free from middleware lock-in if you choose to be and you're here at a conference working with some cool technology that makes this particularly possible, right?  So thank you, build pecs. So I wanna ask a question. I know I'm here at Cloud Foundry Summit, sometimes I'm surprised. How many people interact with Cloud Foundry actually? Right now, okay? Most everyone. So have you pushed an app? Yeah, cool.  That's cool. And then have any of you looked into how the build packs work? So who would say you know how build packs work? Right, so just a handful of folks. So the build pack is sort of your magic secret to how when you push an app it just works. Like Anci made this amazing haiku, this really cool haiku that really resonates that here's my source code, run it in the cloud for me, I do not care how. Well that I do not care how part is a privilege that you only have if you have a really good environment to run your applications in. And the build packs are that secret sauce to I do not care how, right? So if you like that idea and most of us are working with Cloud Foundry so I suspect that you do like that idea, that I do not care how part is really magical because you can go on with life and you can care about only the things that are important to you. So build packs create immutable containers that will run consistent, with consistent operational characteristics. Right, this is super important. Right, in an age where folks are super excited about containers and we are too, the Cloud Foundry ecosystem has been running them for a long time. And build packs help us create these containers. And then when we run them, they have consistent operational characteristics. That's absolutely critical to having a heterogeneous architecture that is easy to manage rather than one that is hard to manage. So how does it work? Let's just sort of break this down. So build packs require input. So to build that immutable container, you need an application. Who here knows what that means? I probably don't have to explain that anymore. I'm using hand-based participation to keep everybody awake. Yeah, okay. So I probably don't have to dig into what an application is right now, right? And then you need a manifest.yaml. So we know what that is, right? Yeah. So here's a basic manifest.yaml. So you've got your killer app, that thing that's gonna make you tons of money. Maybe you have a path, like if you're in the Java ecosystem and you're building jars, maybe you have a consistent path. You're probably gonna provide this on the command line. You can provide it in the manifest if you want to. And then you might specify a build pack. You don't always have to, but sometimes you might. So super basic, probably the most basic manifest that you can make in order to pull your application to Cloud Foundry. But these are the inputs, right? So you've got an application and a manifest.yaml. Those are your inputs to the system. And then what is a build pack? A build pack are three basic steps, right? So if you look at the directory structure of your most basic build pack, this is literally it. Each of these are scripts. They can be written in Bash or Ruby, you know, or other languages, whatever you want. But you've got to compile, a detect, and a release. And that's it. Zero directories, three files. That's a build pack. So if it was a mystery before, this basic structure sort of demystifies it. It's not that much, but we should look into it a little bit further. What happens here? This is not actually the steps. The step is first detect, should I run this application? So build pack wants to make a reasonable assumption that if it's going to try to create a container in order to run an application, it wants to make the decision as easy as possible to say, should I do this or not, right? So should I run this app? And then compile will create a droplet. A droplet is what we call a container. Who knows about this concept of droplets, right? So at least in the sort of native and consistent Cloud Foundry world, a droplet is our container. And then release is the third phase where we'll provide and it's optional to provide it, but we'll provide some basic metadata for running instances of our application. So this could be the default way that we spin up an instance of an application or maybe some environment variables or flags that we're gonna specify for a JVM or some other runtime environment. So these are the three phases to building a container to make it run on Cloud Foundry and the build pack is responsible for making this happen. So we can dig into it even further. Let's take the case of Ruby. We can sort of deconstruct this. This is, I've removed some stuff here in order to make it fit nicely on a slide and I think it fits pretty well. But basically in the Ruby ecosystem, there's a file called a gem file that is used as a best practice to determine the libraries that we wanna install and run for this application. So if one exists, then we have detected that we can run this application using this build pack, right? So this is a Ruby app. If it doesn't, then we say no. And of course in Unix LAN, you exit zero for it's good and you exit one or any other thing for it's bad because that totally makes sense, right? But we've been doing it that way for more than 30 years so we will almost certainly keep doing that. And then we compile. So compile in the abstract is responsible for a couple of things, but primarily it wants to create the root file system. So what is a container, right? Who knows what a container is? Like you definitely know, it's not a cute whale necessarily, although that is a type of a container. So a container is a root file system, an isolated file system wrapped in some metadata that explains to the kernel how it should treat processes that are run within that isolated environment. So we need to make that file system and that's one of the primary responsibilities of the build pack and one of the primary responsibilities of the compile phase. So it starts with a root file system, a very sparse Linux file system typically. And then we put a runtime environment on top of that file system and that runtime environment will be dependent on which build pack we're building. So in the Ruby world, we're going to put a Ruby interpreter and we're going to run gem install to make sure all our libraries are there. In the Java ecosystem, we will make sure there's a JVM and the Python ecosystem, we'll make sure Python exists and if you're trying to deploy a static site, we'll make sure the engine X is there to be able to serve that site. And then you put your app in that file system as well. That's the responsibility of the build pack's compile phase. And then because it wants to actually create a droplet, what the stager environment that interacts with the build pack does is it wraps it in that metadata which is often supplied by metadata.yaml and then whatever sort of defaults you've specified for running application instances in your instance of the platform. And now we have a container, right? And of course in Cloud Foundry, we call that a droplet. So if we were taking this Ruby example, a Ruby app droplet would be your Ruby app with Ruby and the gems that you've specified and CF Linux FS2 as the typical root file system, although that's pluggable and you might do something else. So that's what it is. And I like this because it's a square and a square like gives me this warm fuzzy feeling that it's interoperable with other squares. And that ends up being what you get out of this is that you have this really consistent interface. This is my Ruby app and it is a square and that's fine. But I might not just wanna do Ruby apps, I might wanna do other things. But with this square, we can then release it. So this is the release phase where we might specify some basic default information for how to run this application on Cloud Foundry. So in this case, again, this is a basic bash script that emits YAML this time. So the Cloud Foundry will run this in order to determine the properties that it should apply to this application when it runs. It can also emit nothing. So maybe you don't have any specific ideas, but interestingly, typically, you do have to have the release script there even if it doesn't do a whole lot, which is a minor divergence from Buildpacks' other home, Heroku, which allows you to get away without a release script if you don't want one. Minor technical detail there, but in any case, then you see a push and your app is deployed. So with an app and a manifest and Buildpacks and the stager in Cloud Foundry, then we have droplets. And those droplets are immutable artifacts with consistent operational characteristics. So the way that you manage them, spin them up, spin them down, create them, destroy them, it's all the same regardless of the environment that you're running on, right? Or the, sorry, regardless of the framework or the language that you've chosen to run your applications, which is great.  You've crammed whatever you've got into this box, and that's good. And that's sort of the glory of the container model, but what's beautiful about the Buildpack model is you have an incredibly consistent method for building these containers, right? So that's what's great about that. So what if you wanna deploy more apps? Well, you can do that as well. So let's say we have our Ruby app. Well, let's say that it's sort of a back office app. We used Rails and we're able to make some really good CRUD forms to interact with some data and we've sort of built up a little CRM system or something, that's great.  I like the JVM because it keeps my app pretty fast and so I'll use Java for my API and then, you know, I'm gonna write my UI in Angular because everyone else is writing it in Angular even though I like Emblem or Ember.js rather better, but I can't find any Ember.js developers and so I've got these apps, right? So what do you do there? Well, if we remember that build packs create immutable containers that will run with consistent operational characteristics, then build packs to the rescue. This is, by the way, usually when you present this opportunity or this situation to your IT operations team and you don't have something like Cloud Foundry, this is when people really start setting their hair on fire because they figured out how to build the golden images for, you know, their Ruby app and they know how to run those and manage those but now you're asking them to build two completely new environments that they're not really that familiar with and they're not really sure how they're gonna operate or what their characteristics are gonna be whenever you're running your application. That's the old world and the new world with Cloud Foundry and with build packs is that you don't have to worry about that much, that very much anymore because the build packs will take care of a consistent environment and Cloud Foundry provides the promises of resiliency as the platform itself, so that's not bad. So what now though? Well, just deploy. So let's say we've already got our Ruby app. We have a few instances of that. They all look the same on the outside, they all have similar characteristics, they have similar interfaces, similar inputs, so then we can just spin up our Java apps and our Angular apps without really having to worry about it and how do we do that? We'll see a push and the build packs go through the process that we identified earlier of detect, compile and release in order to make sure that we have a consistent environment to run an application regardless of the language or the framework that is written to support. So that's good news. I feel good about that.  Ring a bell for things we want? Yeah, I see some nods. Some people are like, I don't want that. I like exciting infrastructure. Dynamic infrastructure. Yeah, the words exciting and infrastructure should never be in the same sentence in a positive way. Just heads up. I like consistency. So build packs that are supported by the open source community and supported as the open source distribution of Cloud Foundry, Java, Ruby, Node, Go, Python, PHP, Static, Sites and raw binaries. As long as you build an application that's meant to run in the cloud and it's in one of these languages that's supported out of the box, the beautiful thing is that this is open source. There are about 40 more build packs for runtimes and environments that aren't on this list. Many of the vendors that are here today who provide their own versions or implementations on top of the core Cloud Foundry have their own. That's grade two. So looking at this list, though, just of what's supported by the open source community from security patches that are happening constantly and upgrades to the latest versions, like, does this satisfy needs of anybody in this room? Like, is this good? Like, for production today? So everybody running, is anyone running any of these application environments in production today? Yeah, okay. And then, you know, if you're only running one of them, maybe you want to run some more. Maybe you want to try out Go.  Well, how do you do that? Well, build packs are your answer. You can start to have creativity. So, you know, if you're using command line to interact with a Cloud Foundry instance, you can type CF build packs and see what build packs are installed by default on your instance of Cloud Foundry. I got this from PCF Dev, which is a lightweight sort of Cloud Foundry in a box that you can use for local development and local testing. This is what you get out of the box. They have priorities. The priorities are important because if you don't specify a build pack explicitly, then it will go through the detect phase for each of these build packs in order. And it will start with Java and move down the stack. So, if you build an application and you just deploy it, each of these build packs will attempt to detect whether or not it should be responsible for building, or for running this site, or this application. You can also, you have fine grain operator control over whether or not they're enabled for use or whether or not they're locked. And of course, they are versioned and get released that way. And so as an operator, you can control and manage which build packs are part of your default system, which is great. You can also specify, as a developer, if you have the capability, you can specify build packs that aren't listed here. So I mentioned Rust earlier. I'm sort of playing around with Rust. I'm not a Rust expert, but if I want Rust to work on Cloud Foundry, like how do I make that happen, right? That's the beauty of the open source. There's an open source build pack for Rust. You can see that it's not listed here, but in my engineering organization, I at least want the folks to be able to try new solutions and new technologies independent from what is supported in production. And then if a good tool or a good piece of software comes along, I want to be able to enable it in production as well. And again, the build packs are what let you have fine grain control of that. So what about multiple apps from one repo? So if you've got a heterogeneous architecture, but maybe they're sort of all in one repository or you might use sub modules in order to collect a collection of software in order to make a larger distribution, the nice thing is that you can do that too. This is where the manifests really kick in and help you out. So we're used to using manifests to specify one application, but I don't know if you would know that you can specify multiple applications. So if you've got a Java app, but all of your static assets are under resources, which is a very typical pattern, maybe you'll deploy resources as a static site for your UI right here.  You could specify Java by targeting a specific jar that you've built, and maybe you've got your Ruby app in there as well or you've got it provided by a sub module. But what's nice is that you can have one manifest. And if you want to deploy all of these applications, which is similar in a way to the way that Docker Compose works in the Docker ecosystem, you can just type CF push and it'll deploy all those apps. If you only want to arrive one, like say you made some color changes to the UI, so you can type CF push UI and it'll only deploy that one, despite the fact that you have multiple applications specified in your manifest. But it's kind of nice to be able to have a master manifest for your architecture, for your particular project, or your particular application. That's kind of cool. And then you just CF push. Not too bad. So what about custom build packs though? So I mentioned Rust. Well, let's say I've got this Rust application. This is a very basic Rust app that's using the iron framework, which provides restful APIs. So it allows you to build, it emits a small web server and lets you build restful APIs. So one of the things you can see here that's happening is that when we get a new request, we will inspect the environment variable CF instance index to see which application instance this is. And then it'll wrap that up in a JSON payload and emit that as a JSON object. That's pretty cool. It'll bind to the port that is specified on the environment. So this is a 12 factor Rust app, which is cool. But Rust very much like go requires you to recompile it. And then you've got this portable binary. So what would it look like to try and make this run on Cloud Foundry? And this is significant because you may have very specific environments for your applications, but you still wanna try and run them on Cloud Foundry. And if it is a 12 factor app or a cloud native app, you should be able to do that. So here's a 12 factor Rust app, not typically supported on Cloud Foundry. So let's build a build pack. Let's detect whether or not this is a Rust app. Rust uses cargo the way that Ruby uses gem file. So this is how we specify underlying dependencies. So if we have a cargo file, then it's a Rust app, if not, it's not and we'll pass. And then we need to compile. Well, we'll get multi-rust, which is a way to easily get a Rust compiler, similar to things like RBE and V or other tools that allow you to switch between versions of underlying VMs. We'll compile our application once we have Rust, and then we'll cache some artifacts out of that so that future compiles are a little faster. That's helpful. So that's our compile phase. This will lay down Rust on the lightweight root file system provided to us by the Stager environment. And then it'll compile our app and put our app in that container as well. And now we have a root file system for application. For release, I'm gonna specify that the default way to run an application in Rust is cargo run, which is true, thankfully. That's very helpful to my case, that that's true. So that way, whenever I try to run this application, I don't have to specify a run command. It'll just assume cargo run. But if I wanted to specify a run command in my manifest, I could override that. And here's a basic manifest. So I've got an application name and I've put this build pack on GitHub. It's actually, I had to fork it from the Heroku build pack, but this is legit. And I'm just gonna specify my build pack from there. And Cloud Foundry, when it tries to sage my application, will go to GitHub, get this build pack, and then use this build pack to build this container. And then I'll have a Rust container. So that was super simple to detect, compile, and release an application. This is my manifest I showed you the app before. And that's that. And I deploy it with CF push. And then I've got Rust running on Cloud Foundry. So that's pretty cool. And the open source community is really neat. So I come from an old school Perl background, so I like to deploy Perl apps to Cloud Foundry from time to time. It really freaks people out. But I come from old school enough that I remember the first meeting at OSCON in 2001, I think, where they were like, hey, you know what would be good for the Perl community to make Perl 6. And then they finally released it last year in December. So there's a programming language called Perl 6. It only took 15 years, no big deal. And I can run Perl 6 on Cloud Foundry too, because there's a build pack for that. And there's a web application framework. And that's pretty neat too, right? And those are future-leaning languages, but the fact that Rust is gaining massive popularity, it has huge backing for Mozilla, and I can run it on Cloud Foundry means I can at least explore its viability for my business problems, right? So this is really what build packs allow and what Cloud Foundry allows and why I think heterogeneous architectures, because they are real, Cloud Foundry is the place to run them. So you get the freedom to be creative. You get the freedom to use the right tech. And you get the freedom to do the right thing. Freedom, free, free. So there are some references. It's always good to read the source code to the build packs. You should know the software you're running, but it's really fascinating to see how this is done, especially in an incredibly reliable way. So what I showed you of the Ruby build pack was a very stripped-down version, but if you go check it out, it's quite serious. It's always good to read up on what you can and cannot do with Manifest. Most of that you can do with command-line utilities as well, but it's super important to know it's there. And of course, the documentation on build packs will steer you in the right direction. If you find yourself in the circumstance where you need to build a custom one, which is AOK. So that's my Twitter handle again, Casey West, and we can be friends. That's what that top line is about. We can be friends on the internet. We can also be friends in real life. That's what the beer emoji is for. We can drink those beers if you want. I mean, not literally those beers, because they're emoji. So you're kind of silly for suggesting that, but we can definitely hang out, and that would be fine with me. We have one minute for questions. Maybe I'll take one question here and then more in the hall. But thank you for your time. I hope that this was good. Thanks.


This is the another example of the MANOVA. Now, in this example, what we will do is that we do not have raw data. We have the data in the form of matrices, the data in the form of some of the squares. So, how will we use this? This is the example number 2. The random sample of size 27, first for 38 and the 28. From 3 by variate normal population, the following mean vectors and the sum of square cross product given here. These are the mean vectors and these are the sum of squares. Now, you have a mean vector. Why do we call it bivariate? Because it is dimension 2. 3 bivariate normal population. Because it is dimension 2, that is why we call it bivariate normal population. Tests at 10% level that the mean vectors of 3 population are equal. Now, what we have to do is that these are the mean vectors of 3 population are equal. And what is the size? First, for 27, then 38 and the 28. Now, here is the solution. We have 6 steps. First is to construct the hypothesis. The hypothesis is the mean vector 1, mean vector 2 equals to mean vector 3. All 3 means are equal. And the alternative hypothesis, at least 1 pair mu i is not equals to mu t. All 3 means factors are not equal. The second step is the 10% level of significance and the third is the test statistic. This is the test statistic where Wilkes-Lamda equals to this one. The F statistic under H naught is distributed as F with 2 G minus 1 and 2 N minus D degree of freedom with N equals to N1 plus N2 plus N3. We will add up which is equals to N. Fourth step is the calculation. Calculation W. W which is equals to, we have already seen another formula. Use that formula because W is its simplest form. Because we solve it according to S because we have the sum of squares given. We are using the sum of squares. This is the general formula. We have said this formula further. This is the sum of squares A i. Now, sum of A i. What will happen to you? What is the first value of W? 4011.5. Sum of A i. First A is the value. Then second A is the value. Then this. So A1 plus A1 vector plus A2 vector plus A3 vector. After adding up, we have W value. Similarly, B between sum of squares. This is the form of matrices between sum of squares. That is why we are using it because the data matrices are given in this form. According to this, we will find the values between sum of squares. Then is the x bar. Small x bar vector. How will we find it? This is the x bar. You know how to find the combined mean. Similarly, we are finding this x bar mean vector. N1 x bar 1 plus N2 x bar 2 vector plus N3 x bar. 3 vector divided by total N which is equals to N1 plus N2 plus N3. So after calculation, the mean vector x bar which is equals to this one. Then further N1. First, how many values do you have? You don't have 27 values. 27 multiplied by this. And take its transpose. You have first, second, third quantities. Then further, what do we have to do? How to find B? We have to sum up. And after summing up, we will get the value of B. That is, you have to add them up. After adding them up, we will get the value of B between sum of squares. So total. How will we sum total? Within plus between. If we add them up, then you will get T. T is equal to W plus B. That is the value. Now we have to take out the modulus of within. We have to take out the modulus of total. Modulus. Because we have to take the ratio. It is equal to the ratio of two, which is the within over total. The modulus of them has come to you. So the value of W. Then W. Entered in F statistics. Finally, calculated F value has come. 192.0148. Fifth step is the critical region. There is the calculated value F which is greater than critical value. With these degree of freedom. This is the alpha by 2. 10% layer. We have here 0.05. 4178. 4178. So if you don't have 178, then check on infinity or interpolate it. 2.36. 2.36. And here you have calculated Ff192. 192 is greater than 2.36. So conclusion is the calculated value F falls in the critical region. So we will reject H0. It is concluded that the mean vectors in three populations are not equal. So we kept null hypothesis. All three means vector are equal. So our conclusion is that we have rejected the null hypothesis. So conclusion is. All three population means vector are not equal. This is the final conclusion.


YouTube what's up, man? I am starting a new series is an idea that I have Basically just from being on Twitter and talking to interacting with so many people whether it be my streams You guys can follow that below the link is there all my Twitter everywhere I talk mad at Instagram DMs everywhere where I talk mad to all you guys Man and what I've realized the last couple weeks and people you know posting clips about the game and people Complaining about certain issues is that you know what sometimes is mad and pros We kind of take for granted what you guys know about the game You know and with the little stuff that we know we just kind of assume that all you guys know it man And and there's a crossroads in Madden for everybody You come across something where you get beat something that you know if you find out somebody knows a play better than you Or was running this glitch play or cheese plays like you guys say and and for me It's like you get to that point. We've all gotten to that point I remember you probably remembering moments where you run across somebody like that and You get to a crossroads man and the crossroads is am I gonna complain about the game? Am I gonna make excuses or am I gonna one learn how to do it and learn how to stop it learn the little things? You know and and this this whole segment or this whole series be friending the bots is about helping you guys get better at Madden You know because I always feel like if I can help you guys get a little bit better at Madden Then you'll enjoy it to the level that I do man because that's what I love about it because I know all the little things And see every little thing that every player does on the field and all the different things that different pros Do I can watch competitive man with an open brain? And I just want to make sure I kind of almost start at the beginning man Because I feel like if you don't understand the basics You don't understand the simple things that we take for granted that everybody knows that you and I'm starting to realize That a lot of you guys don't know so this whole series is essentially helping you guys get better man If you don't want to get better, that's cool. You just want to watch gameplay You just want to you go about your day open your packs this that in a third. That's fine You know this might not be for you, but this whole series is gonna be about Getting you guys better at the game and understanding the game better so that Essentially, you know you can look at the game look at the gameplay with an open mind You know I think the best players in the world have an open mind when it comes to the gameplay man And and one thing about it is it it's not an argument that It's right or wrong or the game players good or bad or it should play differently That's that's not an argument that a madden player makes, you know Essentially what it is is you kind of accept what the game is and learn how to master You know now you guys can say well in real life. It should do this the gameplay mechanics should work different It should you know simulate this this is what happens in real life That's that's never gonna make you a better man player. You have to understand. It's a game You have to understand the rules of the game. It's a computer. Essentially. It is Robotic, you know, so you have to learn that and just take that information and use it to become a better man Player man, cuz I truly truly believe if everybody understands the game as well as we do man You guys will like it that much more man And that that's what this whole series is about so any ideas or things that give you trouble It could be the most basic thing in the world, man I have so many ideas for this series and so many different ways. I want to take it But I just wanted any ideas you guys have any simple things you need help with if it's stopping to run if it's You know when to go for it when did not go for when to put one of the biggest things like when to put a Slant when to put a drag when to put a curl or when to put a hitch Just little things that you know You guys are struggling with that you really think you could use help with and maybe you don't understand all the way like why Why is stretch so good this way? Why is this formation so good? How do I slow down this formation? Just little things man Like I said, I have a notebook full of ideas to really help you guys get better man That's what this series is about. So if you're not interested in getting better, that's cool man if you are interested in getting better, please hit that like button and stay tuned this first episode I'm going to talk about deep blue zones because Since madden 18 we've been able to manipulate our deep blue zones and there's three types of deep blue zones man There's a quarter what you guys see in cover four There's a third cover three and there's a half that that those are the three basic deep blue zones Not taking any match concepts into play just those three basic deep blue zones And we're gonna go into practice mode and show you guys pretty much the difference in when to use Which is deep blue zone? All right guys, we're in practice motor warm start here with a basic cover three That's it like I said, there's three types of deep blue zones man And the first one is a cover three now I will tell you the first before we even start it's rare that any pro player has a cover three zone on the field Because it's it's very easy to manipulate and it's also it's going to press the receivers It's going to get physical with the line and it's going to get burnt because if you press the receiver in this game No matter how good your presses if you press by the time that receiver gets off the press It's a touchdown over the top So what I'm going to do is press now if you don't press they won't be as physical with the line But one thing about Madden man defensively is that okay? We're going to make every defense look the same so most man in pros You'll see it will press whether so he's in a cover two zone or a cover three zone Whatever it may be but I'll show you guys right now and you'll you'll watch Gilmore over here on I believe that's the Marcus Robinson number 11. He's gonna press him and He's pretty much want to get smoked you seem to get pressed right there I didn't get smoked that bad as he throws underneath now I'll show you but I'll show you guys the press now. That's a mismatch on my behalf That um is good because I have Stefan Gilmore, but let's take a look at it like I told you The cover three zone will press now. This is your deep blue guy, right? So he's pressing so that's let's just say it's might and we both have 99 speed after the press animation You're gonna give up you're gonna give up a big play like I said the cover threes They're very manipulative and you can change them with different different coverages or different route combinations You can catch bombs so for me the cover three zone is really not an option on the field You know and I'll show you the other the other two options are pretty much what people do when they run cover three We'll come out here and we'll do the same thing you see Gilmore over here Now I put him in a quarter how you do that is why that you go individual a quick adjust why why Icon be and then left on the right stick. We'll put him in a quarter now Us we do this second nature like this is a we do this before we get to the line why why be right why why be right? That's just that fast, you know, it's like a mortal combat move for us You know why why be right and you know he's a quarter now the difference in a quarter when you want to use a quarter This will not press this will not get burnt unless it's an obnoxious speed difference It would have to be like 99 speed the 95 to get burnt a quarter will drive will backpedal right away Instantly and will not get burnt and we'll watch Gilmore in this play. Just turn his hips and gone No chance to burn as it as you know My homes gets rid of the ball right there to where I was user and it wasn't covering But if you guys see you'll just see that's the difference in a cover three and a quarter man So when you want to press but you don't want to get physical You want to make sure you're not going to get burnt and as a user defender You know, I will not give up a touchdown on that side before listen before Robinson's even one yard down Gilmore's back five yards already Boom and that's why people put a press quarter because it looks like when you come through the line It looks like man I got a one-on-one match up out here But you see how quickly he bails and turns his hips and he's out of there And you're never going to get burnt when you use a quarter. That's why most people when they run coverage They'll put quarters out there So now let's go ahead to just the next best thing now just like a third A quarter is manipulative as well people you can put a comeback route You can put in routes they'll jump things underneath you can get bombed if you put quarters out there So if you're playing bunch if you're playing tight If you play anything that might have a bomb You don't want to put quarters, you know quarters or more they play more aggressive on that one receiver and you won't get burnt Now what you want to do if you're worried about the bomb is a half That's a deep half and essentially turn this into some type of cover-to-invert where this guy is the flat and this guy's the deep half now Personally pressing a half is not that good not that smart unless it's you know because I feel like a half the Marcus Robinson can run by Gilmore because Gilmore will drift a little bit to the middle here and The streak down the middle can run down the field So essentially if you want to play safe you back them up a little bit or or never press But essentially this will stop people from a deep pulse if you guys watch my Twitter If you guys watch my highlights my tic-tac anything you'll see I throw so many deep pulse because people don't do this adjustment One of the safest defenses in the game you can do is double double deep halves like this You will not give up a single bomb touchdown with a defense like this ever Now you'll give up stuff underneath because I'll tell you these deep blue zones do not jump anything underneath These guys were pretty much. It's pretty much just safe. They'll be back here.  They will just make sure you don't give up bombs So I said the third will press the quarter will bail and pretty much stick that side of field and play a little bit more Aggressively and the half will stop the deep bombs. Those are the three type of deep blue zones You need to know if you're playing defense All right, boys, that was the first episode of befriending a bot I teach you guys just the deep blue zones and what they when they use them and what they do and Understanding when and maybe when you guys watch past defense and you can think man Is this guy going to put a quarter on his play and maybe give up a bomb?  That's where we get into the We don't want to see bunch first bunch every every possession or every game But if you can see these little things that defensive players do then it can definitely Improve not only the way you play but the way you watch man and where you understand it and the way you don't just think It's the same play over and over because even though I said they're just covered three shells, right? But I gave you three different adjustments to do to the outside corners, you know note that so not only Is it gonna improve your cover three, but it's gonna make you see covered three a little bit better man So if you liked this video, please hit the like button just little stuff We're gonna keep going on I said once this gets to 200 likes I'm gonna drop the next episode the next episode is gonna be offensive And I'll tell you guys any single thing you guys think you need help with or think they can improve on Please comment below and help me out because I need to help you guys more than I need to help


What's up? What's up? What's up? I'm brand man, Sean and I'm Cory and we are back with episode number 26 of No Labels Necessary. You can check us out every Tuesday and Thursday on YouTube, Spotify, Apple, wherever you listen to podcasts and they're like talking about music, content creators and the culture of it all.  I'm coming from a slightly different angle, but it's a conversation worth having. Uh-oh. Yeah, it's gonna come. It's gonna come. But artists, people don't like working with y'all for a reason. Some of y'all, right? But I think it's fair and I think it's extremely necessary for you to understand the perspective that this producer puts out there. Check it out. Don't ever get caught up in potential. Don't ever get caught up in the nick of potential. That was probably one of my biggest problems back in the day.  You know what I'm saying? What you believe in the niggas more than he believes in himself. Oh, God. Don't never get caught up in that.  Like, you got to be in him and not, and like, he don't need to be caught up. I had an artist like, I want to be a world star.  Like so much.  Like, why don't why? Why ain't verified yet?  We don't get there.  Then I had another nigga who was so caught up in looking like it. But the nigga music was one was this rudimentary. But I believed him. I'm like, bro, you got it. If you just lock in, but he didn't know how to build up a fan base. He didn't know how to, but he wanted to go buy fake jewelry at the mall and where, where, where fake design and look like it and chase hoes, but he wasn't focused on mastering his craft. He caught up in. Hey, man. Cosmos music rudimentary. Yes. The crazy insult. But what did I just say last episode? I told you, man. I told you regular words say genuinely hit different than those common curse word insults. And I'll tell you exactly my point. But he watched, watched episode 25 to know we talk about there. But boy, the things that he is, he's saying great points. This is the stuff that we talk about behind the scenes. Yeah. All right. And know that many artists don't hear unless you're one of the artists that fit the bill that we like to talk about around that we like enough to talk about the other ones around. So you can understand because many artists don't understand that. Yo, man. People can't want it more than you. That's the most common way that you might hear people say, all right. Like, I can't want this morning, but like, look, we just very recently heard people talk about like having a wake artist up or artists not recording music, right. Pretty established artists and not.  You have all this money, but you barely recorded any music and your career isn't solidified. You've popped, but your career isn't solidified yet. And then your project came out and it didn't do all that well. But you also didn't give us that much content to work with. I'm not talking about content like social media content. I'm talking about, hey, you only recorded, you know, 10 songs in an entire year. All right. That type of thing. So, look, people want to believe in artists.  Like we talk about all the time, like people can do other things for more money. Easy, easier. Yeah. Right. If they're in music and they're trying to take it seriously, you know, either they see music as their way out because they got some other things going on in life, keeping them out of the traditional industries or they in it for the passion. One way or another. Either way go. They really want what they're attached to to work. Yeah. You know what I'm saying? So if they start to view you in this light, it's because they want it more than you. All right. And that's a troubling place to be. Now, believe in yourself though. Like he talked about, hey, one guy wanting all this validation from platforms like Worldstar and all this type of stuff. And look, he didn't use the term validation, but that's a lot of times what artists are focused on. Yeah. Like they have to see themselves somewhere else that has validation for them to feel good about themselves versus having that mentality like, no, we don't get there. Like we good.  People are going to post us for free. Now we might pay for stuff here and there for sure or whatever because we were playing the game at some level, but no, we're going to make more people come to us at the end of the day.  And I mean that's that was the most interesting part of me, right? He talked about the lack of investment. Well, half of it to me is, you know, artists not wanting to invest in themselves. They were much rather play the character than do the work to be the character. You know what I'm saying? Which is a very real thing. I think we see it more so in like rap, probably then maybe rapping rock, but rapping rock because they have such like dynamic characters that represent those genres that they want to be that character before it like you are the character that makes sense. But I don't know the thing that I kind of got the most is I don't feel like artists ever think about how hard it is for people to believe in them. You know what I'm saying? Like first off, believing in somebody is very emotionally draining, right? Especially when they're not doing all the things that you want them to do or need them to do. I speak about this kind of thing. Like I've seen both sides of like one from a marketing perspective, like us in the agency and then from the management situation that I had, right? And like it's draining when it's like, damn, you've been working 14 hours to get this opt for artist that then fucks up and misses it. You know what I'm saying? Tiring, bro. Or like the beautiful thing about the marketing agency is that the pavement is the buffer, right? It can be like, hey, you spend his money. If you don't do the work, there ain't no refunds, bro. You know what I'm saying? Like you just ask out, but when you in one of those positions where you're not taking money from the artist like management, you know, whatever other creative services that people may be offering, like this is very emotionally draining. You know what I'm saying? And so I think that like artists need to take this step back to like one, like every artist listening to this needs to text your team members in black, but I appreciate you and I'm about to get to work. You know what I'm saying? They would probably love to hear that y'all watching YouTube video instead of getting to work right now. You know what I'm saying? It's just being real. You know what I'm saying? They listen to the podcast not working, but also just like think about like think about like what the other side like looks like. You know what I'm saying? Like for you as an artist as privileged to have people around you that believe in you more than likely means they're taking work off your hand as you would have to do if they weren't there for you. You know what I'm saying? Like if you didn't have this manager, you'd be the one responding to emails at seven o'clock in the morning. If you didn't have this producer homie, be you scrolling through YouTube looking for beats, right?  So I think about like the amount of work that like that they are having to go through to believe in because like you said, but like every person in music that has a valuable skill set in theory could take that skill set somewhere else. It may not necessarily be a different industry, but it could very much so be a different person. You know what I'm saying?  I know that if we get 10 clients and one of them is bullshitting, I'm just going to focus on another now. Like client number one, bro, you ain't meet the bar, but two, three, four, five and six. Hey man, they doing everything we told them to do, right? They doing everything right. They making certain moves that you fighting against and won't even attempt to do. Why am I going to waste my time over here when I could just help make this situation big and we all win? You know what I'm saying? Yeah.  Like you get caught up in like they need me. You know what I'm saying?  They came to see me. Oh this, you know what I'm saying? But any smart business person with any other skills set around music or music artists is one long-term way more valuable than you are as artists. You know what I'm saying? Typically, like last last episode, I was a clip we played where the guy was like, you know, the box, the box of video, right?   You know, so it's like, like I don't know, but I always come out of that, bro. Some might, because some might come in one of my TikTok videos was like, yo, can you believe in me? And I was like, no, I don't know you enough to want to believe in you. And believing in people is a lot of work. It's a wild question. It is a wild question.  I was like, believe. Can you believe me? I was going to be nice and say something like encouraging words. And I was like, no, he need to get hit with reality real quick. Let me smack him in the face with it. Bro, believe in yourself. Believe in you, bro. I believe you don't know how to respond about you. Man, I think artists should seriously think about a manager who's only getting 10% means when you make your first hundred K, they only get $10,000. Right. All right. Now that's the agreement. The goal is to make you make way more, but still think about those reference points. Yeah. All right. And what you're making at the time and what that means for them. Maybe it's 20%. Okay. They make it $20,000, but there's a gap there. And for that person to be heavily invested in you, they really have to make you work for them to work. Yeah. Yeah. And I mean, I don't know, man, I was saying like the belief of the business, people behind the business infrastructure is always going to hit different.  Yeah. Crazy, bro. It's like, gotta be because he believed him because he wouldn't do it if he didn't believe in the right. Yeah. But one of the artist things about that way, you know what I'm saying?  Oh, what happened? Oh, they got up and then ran off. And so I don't think the artist understands, bro, belief from a business perspective. Wow. Yes, it is a powerful thing for you as an artist. It motivates you and maybe gives you insight, right? It helps move you along for the people behind the artist. Belief is a very terrifying, emotionally taxing thing, bro. So I understand when certain power plays in the industry make you jump through a thousand hoops, to finally work with them and talk to them. You know what I'm saying? I mean, even like us, bro, like we make more folks go through applications. Like, I don't know. I mean, you gotta put a little work in before I even come in and say, like, okay, I believe in this enough to do a campaign behind it, right? So it's still things that we want to see because most people in music have experienced like some type of burn from an artist. Like the artist getting burned by industry people is a very powerful narrative. Stories, oldest time, but the other way around doesn't get talked about as much, you know what I'm saying? Because it's not as cool, but the fans gonna usually root for the artist, you know what I'm saying? Whether they're in the wrong or in the right. They're like, I don't know. I don't know that motherfucker.  Whoever you are. So, yeah, but belief, belief in the artist is a scary thing, you know what I'm saying?  I saw a clip the other day about the Chicago Bulls and it was all these players commenting on Michael Jordan, right? And yet acknowledged with him that he wasn't the nicest guy all the time, yada, yada, yada, right? But they were like this dude practice hard, like crazy. Like one dude said he came from another team and went to the Bulls practice and he was just like, hell's going on, right? He was like, this is practice? It was all made no sense.  And what they were saying was in practice, you had to come see Jordan, right? You really did feel like you were going against Jordan and you had to deal with Jordan, but in the game, you were happy that you had Jordan on your side. Right? Now, I'm not telling artists to be hail.  But what I am saying is all of that, they had to deal with with Michael Jordan. When they were in the game with Jordan, they were happy to have him on their team. Yeah. They felt good that there was a better chance of success. So if you can have people on your team feel like, oh, shoot, I'm rocking with this artist. The way he believes, the way he moves, the way he works, I know we're going to win at some point, then people will move different. But if they're doubting, they feel like I got to remind you of stuff.  Like I got to remind you that practice is a thing. I got to remind you that, hey, you are an artist and you do need to create music, right? You're not listening. You're not coachable because Michael Jordan was still coachable, right? If you don't possess those things that make people confident to follow you or be a part of your vision, then it's going to be hard to keep people around a value. Yeah, because you're the spark. You know what I'm saying? You're the spark. And so we're all looking at you as the artist is like, man, they're not doing what they're supposed to be doing. Why should I feel motivated to do a good job? There are certain professions where if they have integrity, they would do a good job simply because they were paid for us. If there's a client that does things that makes them not believe in them, then it's like, well, we're going to at least do a good job. But it ain't the hardest for out of integrity, right? But you can really feel the spark dying along the way. It might start with us. We kind of like, man, I don't know. Then you'll talk to the manager and you see that same look of death in his eyes. I was like, man, I'm trying to get him to do X, Y, Z, right? You ain't going to get no extra. Yeah, right. But you might even get the bare minimum. I'm just saying. But yeah, you're definitely not going to actually. There's people who get extra just because of how they carry themselves and the belief that people have in them is like, dang, all right, these are the terms of our agreement. But man, yo, I just talked to somebody and they're dope. And they're cool. I'm going to tell them about you. I don't. That's not a part of my job. I'm going to tell them about you. Or I'm going to do an extra 30 minutes on TikTok, scroll and look up our ideas for you because of the way you move or the belief in a project, whatever, whatever. So if you want to get the most out of people, it takes you. It requires you to move a certain way. Yeah, yeah. Period. Now, with that being said, now a little something else to talk about. All right. Got a useful tool for artists and artists. I know y'all are always looking for ways to think about what you need as an artist to build out your structure. Well, there was a useful post in Brandman Network that I want to show y'all now. Again, if y'all don't know about Brandman Network, if you're new to the podcast, first of all, welcome. If you're if you're coming back, welcome back. But Brandman Network is our platform where we take the information we learn in our agency and we have free courses that you can get that game from based on what we learned from the real world. We not know people who are just watching videos and then creating strategies based off of other videos about strategy.  And of course, you get to talk to people on our team and other dope people that we accept. Check it out. It's completely free. Now, the will of support for musicians. Taz The Online shared this, appreciates you sharing this, found this on the IG of Art Rev Soul.  So shout out to Art Rev Soul.  All right. Tell them we sent you. Tell them which yeah, we sent you. Put the add no labels necessary, you know, in the tag or something like that. All right. Now, the will of artist support. Now, at the middle, what do you, what does that look like? That's just a picture. For those fans? Yeah. I was like, those are supposed to be fans. I thought it was an artist, but yeah, no. So these are just fans. That's a picture more for the second picture. But first in the center, they got fans. All right. And then you got to go out. You know how to use these? No. All right. I didn't know that too.  Okay. So fans impact the merch and the touring. So if you look at this space right here with the blue and then the line outside of it. Okay. Yeah, yeah, yeah. All right. And then the casual listener playlist SEO. That's how you bring those people in. And of course, the center matters itself as well. So we can just go towards the center and center. You got fans. You got casual listeners. You got the consideration familiar and just aware. All right. So people are just aware when they hear remixes. All right. Or they get impacted by some of your branding. This is how I interpret it. Right. Okay. I'll say it's going clockwise. Uh-huh. Okay. I got to go. And then if they're familiar with you, right. That might come from content. That might come from press. That might come from advertising. All right. Consideration. All right. That means social media. That means press. So that's actually a point in point and SEO. So notice that they have press in two different parts. All right. I think that artists look at press ads, content, all for one function, but there's different versions of each that are meant for different people. Yeah. In different parts of the funnel. Right. Yeah. So that's kind of what that makes me think about. And then we get into the casual listener. All right. Which is play listing. Now they have an overlap with community management. I think that's just an overlap when it shouldn't be there. But casual listeners might come in from play listing. All right. At most. But then when you get to the fans, that's where you can have that community to manage. You have the touring that you can capitalize on and the merch that you can capitalize on. This is the will of artist support that they are presenting. Now, one, based on how we've explained it or just what you see artists or managers, whoever's out there, do y'all have any pushback from what y'all are saying? Or do y'all love it? I think as a general tool, it's solid. I think it could be a little clearer for people who don't know it. So let me see if there is, I'm going to go to the IG page and see if they might have spoke about it in a caption, give it more detail for somebody. Jacory, did you have anything about this that you want to talk about? No, I'm still, I want to see the caption first because like I said, it's called the will of support. I'm trying to understand, is this saying that this is the stage where this level of listener show support or get them, you get their support? Or is it saying that this is how you get this level of listeners support? Like through these memes? Oh, look at them. They got the the plug to get more info. You got to go to artrevso.com. All right. So we weren't able to find any additional description from them. So we'll have to take that at face value. But I think it's an interesting exercise to try to even make something like this happen. And it's not a bad tool. I think it is something that at least can get you to visually begin to put things in some boxes. And as much as you can, especially many artists in the way they learn, if you can visually map things out in a way, it's a great way to learn it. And always have something to refer back to when you build a natural campaigns. Yeah. So like I love to do that myself. But we're not going to harp on that one too long. I want to get to the next topic and talk about how major label deals are negotiated, twisted from the perspective of a black billionaire. Now, here is a post from United Masters. All right. They said a look into how major label deals are negotiated. When you check it out during a conversation that Robert F. Smith had at his alma mater, businessman Robert Smith detailed how private equity firms function. His outline had similarities to how major label deals are constructed in order to most benefit the label monetarily without actually investing time and energy into a lot of the artist's sign. Check this out. Let me tell you what private equity is. Okay. It is typically eight white males sitting around a table arguing about which of their deals is better than the others. They have 15 or 18 deals in their mind and 25 relationships. They think that if they bring it together, they can make money. And then they sit at the table and argue about, well, my deal is better than yours.  It's a very bespoke process. And most people think, oh, by that, the cream will rise to the top. The best returns will manifest out of that process. But go look at the facts. The facts show high volatility. Okay. Some cases do great. Some cases lose everything. Right. And you know, look, I don't call that investing. That's placing bets. All right. Now there's another great video on this same carousel from somebody else. But that alone, when we look at it, if you've paid attention to label infrastructure traditionally enough, you know that artists are looking for one big win. Not labels are looking for one big win to take care of all their losses. All right. So yeah, y'all 500 artists might fail. But man, this one hit, and man, they covered everything. And more, that's where we're getting our profit from. Why are labels so tight with that money? All right. That's a part of why. Because we don't know how we're going to make this work. Right. So, and we know that we don't know how to systematically make something pop. So we have to do our best guess. Provide our system of resources to increase the odds. But then at the end of the day, we just got to see what happens. Gambler. Gambler. Gambler. It's gambler. It's a more strategic gamble, but not so strategic. I don't even want to call it in most cases. No, I don't even want to call it. What's a better way? It's a system built to gamble and lessen the odds of major losses. All right. So I've talked to people. Actually, Wendy Day shot out to her. She was one of the people, the first kind of told me that, look, they have numbers when it comes to these deals that artists make. All right. So the accounting department has it cleared. I can do this number. I can do this number because I have to make a certain amount of money on an investment. They are looking at the odds of this. They're working all the numbers. So when you're thinking that you're in this process of a bidding war, you will have people drop out. Yeah. Why? Because they have numbers that are work based on their system and their infrastructure that they can make an investment in. So a lot of times I think from an ego standpoint, we think we're bidding and getting a maximum value. But really what we're getting is getting the maximum value that they can give us, not what we're worth. And in some cases, probably many cases, your worth is beyond their maximum, but you're happy that you negotiated to a higher point. Even though that higher point is not your true worth, it's just the maximum worth that they can view you as and provide for you, which kind of sucks. You know what I mean? But you're like, oh yeah, I made these folks fight. And then they offered me this number and I went with them. So all this is an illusion in some ways. All right. And being aware of that, we kind of have to work to navigate that and just understand the game for what it is and how we want to flip it for ourselves and know that this might be the most value I might get this time, but then you have to have a long term vision, which is another discussion. But staying with his example of private equity, on one end, look, you understand the idea of a company trying to leverage his resources to minimize the work. That's what everybody's trying to do.  That's what everybody's trying to do in their life in one way or another. All right. But of course, you have to be aware that when you're doing that with somebody that might work against you. So I get how if I'm the artist and I hear this, okay, that might be a little bit upsetting. Now, how do you navigate this other than negotiating and trying to get your maximum value? There are some labels that might be more akin to understanding who you are, believing in your vision. You have to start to look for some of those other things. So like, look, business is business.   But he said bespoke. It's a bespoke process and I'm not gonna lie.  So I look it up. So bespoke means made for a particular customer. Okay. All right. So what he's saying is that process might work for some, but it don't work for others either. Don't work for most. That's what he's really saying. So you have to figure out if the label or people that you're going in business with for whatever type of deal doesn't make sense for your system. Because what we experience all the time is people slam.  Like I'm good. All right. And that is the reality of it as well. Business models fit some people just like different artists fit some consumers. Yeah. Yeah. I can't remember who we were talking to recently that broken down like sports terminology. Right. It was like some players do better in the different team system than another team. Right. The play style ends up kind of changing or the play style fits them as a player a lot better for whatever reason. But I think like artists looking at it like the labels are gambling. I think that should make a lot of things that they typically despise about labels make a lot of sense. Right. Yes. So, you know, big one is man, why are labels no longer doing arts development? That's expensive. And then I've been developing you for four or five years just for you to quit. You know, worst case scenario, something bad happens to you.  Right. Not doing that. Man, it's harder to make money. So, I don't have that expense. Oh, yeah, to give up. Yeah. Yeah. Yeah. It's like I'm investing however many tens of care you and you and you and you not making no money back into year four or five. I rather to catch you at year four or five. You know what I'm saying? Like to be real, right? So, they get the the gripe for like, you know, signing viral acts, but it's like the viral act. While yes, there's still a risk, they have a bit more approval concept than you that doesn't. So, in their minds, it's a safer bet, right? Hey, he already got a million followers. You know what I'm saying? He already got a song with 10 million strings on it. He already got a content infrastructure and a team. You know what I'm saying? Like, all right, this feels right. You know what I'm saying? I feel like we can kind of move your hand to our thing. So, yeah, that's it's just interesting because one of those things were like, if you pay enough attention to how labels move, you could kind of like guess it, you know what I'm saying? You could you could see it, but it is nice having somebody that is understanding that say that. But then the other thing too, I think he what he mentioned on is like, the what am I trying to say? I guess the like the human aspect of it, right?  And sometimes people make bets not off of like what they think is the best thing or what, you know what I'm saying? They think has the potential to do really well. Sometimes they invest in things because their friend told them about it. And they really want to help their friend, right? How many times have you ever seen an artist that you be like, man, why is this motherfucking so much attention, man? I personally feel like he's trashed. And then you learn that him in the head of somebody or like childhood best friends or like group or something, right? They got like a pact or a bond is deeper than just the business relationship, right? And so I think a lot of people tend to just look at these systems as just businesses, bro. Like, and so you kind of think like, oh, a business is going to do should be doing like what is best for the business or best for the bottom line. But there's a human at the top of this, bro. And sometimes humans do things that are irrational when you compare it to the system they typically hold themselves against rational within that system might be rational within their life as a whole. Exactly. Exactly right. Yo, I'm a label and we typically like to sign, you know, wrappers that come from the streets, but I'm about to take a risk and sign this wrapper from the suburbs. It's like, oh, my God, that's so groundbreaking. You know what I'm saying? Like that's so, so life changing. But like that happens, you know what I'm saying? Like sometimes those decisions get made because of the perspective of the person at the top, you know what I'm saying? And then it trickles down to the rest of the organization. See, that's what I love about this conversation because when you pay attention, you study business and you study people. None of this should be surprising. And you would be messed up to try to assume otherwise. Yeah, you look weird for trying to go against it. You look weird for trying to go against it because you are the person that you're fighting in many ways, right? Human, right? People say stuff about like helping out friends, right? Or giving some advantages to their kids. Wouldn't you do that shit? Yeah, or it's like, yeah, you think you're the only one thinking that?    You know what I mean? If you don't have good music, you don't have good music, but at least maybe if he wanted to be in that category, I don't want my kids to do to be artists in that way. But like, all right, you might get a studio to record in that nobody else could typically afford or they would have to work to have that themselves. Like advantages come like that's what we all do. We all want to create advantages for people that we care about in ourselves in some form of fashion, right? Now, we're not talking about being unethical or any of that extreme stuff, but like it's just basic human nature. And people tend to help the people they know more. I'm not even talking about best of friend. But like if I don't know who you are, right? This person found out some way to meet me, right? And now we're like in the same circle where we just happen to haphazardly be in the same circle and then we can spark it off. Cool, right? And friends happen to meet friends of their friends. Like that's how all this stuff works. It's so that's why people try to work to get in circles, right? That's why it doesn't make sense to fight or spend too much time thinking and creating this myth of making it bigger than it is.   Now let's get back to the business. It's the same shit, right? We look so much about, we look at so many things as artists are raging against the machine, overcoming labels and labels are now giving these better deals because they demand it. It's all just basic business. You alluded to it. Well, look, I'm not making the same amount of money from music. So I'm also not going to give you a deal for as much, right? Or I'm not going to invest in you until you get to a later point down the road. Back in the day, right? There were labels that had like legitimate artists development labels, you know, that had like Motown. They had like coaches for editor kit coaches, right? They'll put you with some songwriters. They had this entire assembly line literally of people to run you through. But that means I had to pay all of these different coaches to coach you, right? And the rest of my artists and have them on my payroll to build this system out. Now I can't afford to do all that because the risk is higher. And I have to cut expenses, right? Because it's hard to make money in music. But what I can do is give you a better deal, but I'm also going to take less risk, right? So why aren't labels doing X, Y and Z? Well, I didn't invest in doing X, Y and Z. You are basing what I should be doing on a perception from yesteryear. Yeah, old business model. The old business model. We ain't in that today.      So when you just pay attention to the business model, it's not like we're not here to argue on the behalf of labels. It's arguing on the behalf of basic logic. Because when you face it that way, it's going to make all of your deals better. It's going to help you be less surprised. So it's going to create your planning a lot better. It's going to inspire you to plan better and help you make strategic decisions better because your expectations won't be put in the wrong places. It literally doesn't make sense for this person to do this if you understand what that person does. It literally does make sense for that person to do that. Because it's like, hey, based on your percentage and how things are bused down and the way your business model works, you should be going hard for me right now. And if you're not going hard for me, we're not going to be set up. All of those things become a lot easier to see when you literally pay attention to the business model at hand. And every label don't have the same business model. There's some generalities, but in periods of time, people will be invested in one category more than another because they're trying to find their space in the market and they'll build infrastructure. So you look at some labels, like Atlantic for a period of time was going hard on influencer types. They were probably building more infrastructure and learning around that specifically. So all of this is something to pay attention to, not just the general label idea of what were labels yesterday, what are labels today in terms of general business, but what is this specific label seem to be invested in and how do they go about it? All right, what is this distribution company seem to be invested in and how do they go about it?  Oh, because they're charging me $20 a month or whatever. Cool, but what does that mean too?  All of that makes a difference. And once you understand what those differences come with, then you can make an educated decision and build your systems around your choices as well.  Yeah, exactly. Or at least look for the business model that makes sense for you. This is what all boys down to, man, because you'll see artists argue against the system. It's like, bro, the system just is not for you. Go somewhere else. That's it.    Talk about change the music. Go down the street, right? That's all it is. Don't be that one person, right? But no, seriously, you save yourself a lot of struggle and it's going to help you move a lot smarter because what I hate is the polarization of everything, not just in music, but to media in general today. And when people are going so hard around these topics and making them so emotional, they're actually causing people not to think. Emotions like when the number one way to distract people from basic logic.  All they're doing is monetizing your attention.  No, they're playing in to the people's predisposition to react to negativity and they're screwing you over in a way by taking your mind down a rabbit hole where you can no longer be truly productive in a marketplace. Yeah, but they set the flash bomb off over there so they could ride the bank over here. That's exactly what's going down. That's exactly what's going down.   So now I'm going to be so scared that I can't make a move. Let's just find out how the thing actually works because fear comes from the unknown. When you know that, hey, this man wasn't floating because it was some special effects going on. Oh, it's not as wild. It's not that cool anymore. It's like learning the tricks to the magic. When you understand how things are done, it just becomes a matter of fact thing. So work on that, not this propaganda of fear and demonization that people push all the time. Now with that being said, let's keep it pushing because we now have to talk about something far more important than labels and contracts. We got a contract that's going to change the game. Chikori, you know exactly what I'm talking about. I do know what she's talking about. And I've been waiting for this one. Yeah. I ain't going to lie to you. I ain't going to lie to you. Batman Kevo put his baby mama dime on a contract just in case she blows up after they break up and profits off his name. He said, I'll receive 50% of what she makes. Five. Five. Five, I feel it.   Maybe not, maybe not necessarily 50%. 50% depends on the situation, but I'm in there forever in some type of way. I need that in writing.  What? I think there's a marketing stunt for one. I mean, probably, yeah. But I think it's an interesting conversation. The conversation and the concept though is actually very real today in many ways. Yes. Very real, which is what we're going to talk about because 50%. That's a crazy number. Managers aren't even getting 50% percent. I mean, we found the catalyst man.  What you mean?  I'm about to drop a course and she dropped a course and that should do an M.  I mean, of course I want 500 cat off of that. You wouldn't feel like you deserve. No, crazy. Because they still got to sell the course. That's fair. You're right. That's true. All right. That's true. You got to see the opportunity, cap off with the opportunity. You know what I mean? But if I was a pimp, you know what I mean? That's new pimping. No, 100%. You know what I mean? Now I'm just dating girls. So I can get a percentage. And I'm going to get, I'm having a day for love. We only together. We're paying time. I'm going to get you lit. I'm going to get you lit. One of y'all going to get lit. And I'm not even doing the work.        If I'm going this route, I want whatever you get. You can go be a nurse at Emory and give me 50% of that. No, see, that's what kind of goes wild. If I'm going this route, if I'm going bad, I'm going all the way. If it's anything, I feel like entertainment or business focus. I feel as if she's going to get a job as a nurse, bro. They had nothing to do with your clout. What you mean?  You been man, careful, girl. Yo, we got a position that opened right up for you. All them views on Instagram, especially, these nurses be having some pages. I don't want to know. You don't want to know? I wouldn't know. Oh, you wouldn't know? Yeah, I'm following the nurses. Not that I know of. Oh, you know. Yeah, you shouldn't know. I mean, I clicked the little three dots in the right corner and say, not interested. Don't show me no more of this. I got to stay focused when I want to ground me.  You know, I got a life to uphold. You know what I mean? But the concept is crazy because the way I see people move in reality matches this. And I would not be surprised if this ever happened at some point, whether it upheld contractually. I don't know. Someone would probably settle and get a percentage or whatever. But these kids is dating each other based on their followers. 100%. Popularity used to be an understood concept socially. And popularity was something that did drive somebody to be more attractive, right? And it was less tangible. But now, bro, we got literal numbers right here. I've seen how many followers you got before she decides to move forward. You know what I mean? I've seen it. I know that's not a representation of all women out there. Let me make it clear.  No, I've experienced this. And also, oh, everything changes. You know what I mean? So people are literally dating for this, getting their followers up and then flipping.  If we're going to do this shit, we might as well. I'm going to make a little video about it. I'm going to do a little song. You know what I mean? Which you got respect, but it's almost like three steps away from the augmented reality world where we got glasses and I could just walk around and see how many followers everybody got and make my decisions like that in the room. That's damn near where it is, right? So it is really interesting that people are moving like the concept because people are truly moving on this behavior. And we know that people have flip relationships again and again and again. You can look at the Amber Rose. You can look at Jim flipping her Paris Hilton relationship, right? Oh, yeah. Like flip, flip, flip, flip, flip.  A lot of these movies, they will let you think that they're dating because it brings attention to the movie. It makes it more believable. All these different types of things. This has been a thing. The getting percentage. Man. So I'm saying, bro, that's the extra. That's the spa, bro. Like the business models it creates. Like when I saw this, I was like, man, this makes so much sense. Because to your point, if the other person is already up, well, yeah, no, you can't touch that, right? So I think of like a, what's her name?  Like she was up before she was dating little baby, I think. I'm not sure I could be wrong on that. No, she was, what did you say? She was up before she met little baby, right? Oh, yeah, yeah, she was. Yeah, sometimes so. So that I would get, but he'd be wild to ask her for 50% or whatever. But if you, if I'm, if I was little baby and I started dating, you know what I'm saying? This girl, she works at Starbucks. She got 600 followers on Instagram. And then I post you in it within a matter of months. You got 1.2 million. You getting invited to fashion shows. You got fashion over deals. All kinds of crazy brand flips. I want my at least 30 to 50%. So that's, I feel like that's fair. I mean, it's like I invested in you. You got to improve her life, man. That would be improving her life. What do you mean, bro? Oh, no, man, Starbucks is pretty competitive, bro. They pay for college. No, that's McDonald's. No, Starbucks pay for college, bro. McDonald's, they probably do too. Yeah, McDonald's pay for college. I wouldn't be surprised. I wouldn't believe in McDonald's shit, man. I feel like there'll be some untruth there. You got to jump over some hoops that will Starbucks is nice into their place. But which, who do we just talk about? Oh, no, I think that was last night when I was talking to Tuko. He was like, hey, they, McDonald's did go ahead and up that minimum wage.  And they raise the prices, bro. You know, McDonald's, I got a dollar, man. You know what I mean? Hey, bro, that's your credit. I didn't have a dollar for a minute, man. The value, man, you all said what? Exactly. Value to live off that dollar, man. You like, yo, hey, man, everybody can think today's better. They want to for their own nostalgia, but I don't know, man. You ain't had no legit dollar means. I was gonna say, bro, I wouldn't go out to McDonald's.  I thought I was gonna be like, I had like $2,15 since change on me. I'm like, I'm like, never mind. I don't want to take about going home and cooking something healthy.  Exactly, bro. Too much, too much, too many risks, bro. The risk was worth it because it was cheap. Once it ain't cheap, then it's like, no, I should do better. I should go home and cook something healthy. But I just say, humanity and basic business, right? You wait at cost. That's all it is we are all doing at all times. So don't be surprised when somebody else do it. It would be inhumane for you to presume you not to be human. But, yeah, man, I think this is crazy. It's a really interesting concept. And it will be funny if they act.  I don't know how they do it, bro. It's probably just capping on here. At Lorde Harvey, you can make niggas sign NDAs. Bandman, Kevlar can make his big mall sign. Whatever type of deal it is. Weirdest. I'm trying to draw the line. There's a lot of people in NDAs. Shit, if I was Lorde Harvey, I'd do it. It's a typical celebrity culture. If I was Lorde Harvey, I'd do it, bro. I started dating random niggas and popping them off. If I was any celebrity, really, I'd do it. But could I say, bro, this is a crazy business model, bro. See, but you didn't have to become good at talent management. Nah, you get some of your harassment for that. You get an agent or something. Somebody going business with you. Not talent management, my bad. Like brand partnership person? No, A&Ring. Recognizing talent. Let's recognize A&Ring, bro. Regular dating is A&Ring, bro. It is. It is. But you got A&R for that extra variable. Yeah, that's true. You know what I mean? That's true. Yeah. You know what I mean? But, hey, talk about fuckboys. Hey, but maybe the fuckboy, he knows good for the pocket. So, you know, I'm going to still keep some of my boxes for this podcast.  But I get with this halfway, halfway. Drop in the comments, which I would do, man. Usually, artists, girl or guy, both sides. For sure. Like I said, because I have my thoughts there.  I think so. Because way more people pay attention to the girl artist than the guy artist. It depends on how and why. But yeah, yeah, go ahead. But yeah, I just want to know what y'all think, man. Drop in the comments. Would y'all take 50% or would you let them live their new best life? With no contrastal obligation to you? That's what I wanted to know. It'll be interesting to do it with options. All right? So there's an option, like kind of like marriage. Like how things change somewhat if you like cheat and things like that. You know, it was like, all right, maybe for the good ones, you don't activate the contract in full. You know what I mean? So there's incentives for good behavior. Only reason I wouldn't activate the contract is if we got married. Because at that point, the money just comes back in the house. Well, that's different. Yeah. That's different. But it's like a peace of mind clause.  Or if I hit you over the head, you ain't going to be knocked out. You know what I mean? I ain't taking that less than 25%. That less than 25%? Okay, 25%. But then 50% for the people who do you wrong. That's all I'm saying. It's just an incentive to have good behavior in a relationship. Yeah. But see, but then this is going to have the business model. At some point, I feel like I wouldn't want that because I want to go pop off more celebrity people. I'll take it. You know what I'm saying? So then you'll be looking for somebody? Pembroke basically. Like you already said it, bro. Pembroke basically. That's basically exactly what it is. But that's what I was going for. All right, man. I got one of you. You hit this vertical. You know what I'm saying?  I can appeal to these people over here. Now, let me go find somebody that like, you know, all right, man, let's say girl one appeals to the fashion over demographic. I want to go find the girl that appeals to the Barnes and Noble demographic, the anime demographic, saying the athletic demographic. I'm trying to have a whole management team of these top clients. That's what I'm saying. I mean, at that point, you can just stop dating them and skip to the signing. Why not skip to the signing?  This is purely a business venture for me. Now we can do this and make it look real on the outside. You know what I'm saying? But I want you to let you know what I'm at with things like once I get your career moving, you making about six figures a month, I'm going to move on to the next one. So I can get some more of these. I'll be real about it. Hmm. Oh, no, that's plenty of people. Some girl will do it. No, there was a lot of that would actually do that. Yeah. That's what I'm saying. But I'm just saying, you know what? At some point, I value my time in a way where it's just like, no, we're not even going to pretend to date. Just give me 50%. And now I'm going to build other systems. Maybe I hire a, what's the word I'm looking for? Dang, I can't remember. Oh, a stable of dudes and pop these dudes off. And now you have to stick to my model and date these dudes. So I don't even have to be attached to any of it. Now you're on the whole thing. But anyway, we're not going to even get that much deeper down that rabbit hole. Hey, every once in a while, I don't know. We might end up in the pie with some bullshit. You know what I mean? I mean, I don't think that's a good category.  And ruminate on it a little bit. This is episode number 26 of Red Man's Shot. I'm Corey. And we out.