Status Ain't Hood Interviews Luke

Status Ain't Hood Interviews Luke

Use the Force

I wasn't sure what to expect heading into this thing. Uncle Luke has been putting on ridiculous borderline-orgy shows, both with 2 Live Crew and as a solo artist, for decades now, and he's got more amazing stories than most of us could imagine. He's also a genuine musical pioneer, both on the business and creative ends; Southern rap basically didn't exist until he came along. And now he's the first rap figure to have a company publicly traded on the stock market; his Luke Entertainment Group is now on Nasdaq pink sheets under the symbol LKEN. He's in town on a press trip to talk about that new company, so this turned out to be more a business conversation than anything else, though it touched on his whole career. I was really impressed with Luke in person. He's candid and genuine and smart and ambitious, and the suit he was wearing probably cost as much money as I make in a year. It's hopeless to predict what might happen in the music industry over the next couple of years, but Luke's idea of a major label actually based in the South, run by someone who's been selling music independently longer than anyone else, is a pretty fascinating one.

What made you decide to launch a publicly traded company?

One of the things was, if you follow my career, my career is more independent. I started out of the trunk of the car, out of my mother's laundry room, selling records. I basically was never able to have the luxury of having major companies behind me, which was kind of good. It made me learn the business. Starting out the way I started out, it made me think. I got all these job offers to come work with major record companies and entertainment companies, and I was like nah, I don't really want to do that. I think what's best for me to be able to take it to the next level, other than being like everybody else and working for somebody, thinking with my crazy independent head. I started talking to some friends, and they said this might be the best route for me to go. So I started doing a little bit of research on companies like Nestle and Volkswagen, thinking about how to actually do this. Knowing that the traditional way is a long process, having more conversations with different people who are familiar with the stock business, I wanted to know if there's an easy pink-sheet way to go about it and build from there and hopefully end up on the senior boards.

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You really did come up completely independently. Southern rap has taken over, and you guys were years before anybody, years before the Geto Boys even. What was it like in that time, trying to get noticed?

It was difficult. I remember real clearly, coming up here and coming to the New Music Seminar. I went to a lot of seminars to research the business, and I remember real clearly a guy saying Southern rap or hip-hop, this music would never take off or never happen. And I got up in the middle of a room of a couple thousand people, and I said, "You watch. Eventually, Southern hip-hop is going to take over." And at that time, I really believed that. Because you look at the South, unlike looking at some place like a New York or a LA: New York, that's it. It's a city. It's a major metropolitan city, but it's not Carolina, Atlanta, Miami, Memphis, Houston. That's major. That's a country. So I always figured that once our style of music started to pick up and take off, more people in different regions in the area would be acceptable. So that's what happened. You end up getting Geto Boys in the Southwest, Three 6 Mafia in Memphis, groups out of Charlotte and Florida and Atlanta, Lil Jon doing all this stuff. It picked up, it took off, and it's still kicking.

When you started out, there was no rulebook, no path to follow or anything.

No, there was no rulebook. I actually created the rulebook, just working on a shoestring budget and using my community. It wasn't no such thing as a rap van back then, so we painted our first van. We had the Luke van, and we put the music in the van, and we would take the van out to different stores. That's how we would generate a real live in-store. We would have the music loud, and people would come around, like "What is this music coming out of this truck with these girls on it?" So we created that whole atmosphere, that party atmosphere like a club at a record store, and we generated sales that way. I like doing that. That's why I like doing what I'm doing as far as this stock business. This got my energy to flowing. Same thing with DVDs. I looked at a couple DVDs online, backstage footage DVDs, about six years ago, and I said, "Aw man, this is a good idea." Then we started doing DVDs, and DVDs started taking over, hip-hop DVDs. I try to be on the cutting edge, but I never really had a bank to help my with my visions. I would start things and I would do thing, but then you would have some of the major companies or some of the other artists on major companies take my ideas and just go crazy. It would be almost as if they created it when it was really created by me. And going public will allow me, and I'm real confident in hoping the stock will do what it does, will allow me to do things on that level as a major corporation and be able to be creative like I am. I don't follow no books. I do what I feel people really like.

So you're still working without a rulebook?

I'm still working without a rulebook. It's just plain ol' grassroots, what people want. I do a lot of research. My research is going out to nightclubs and talking to people, talking to people on the street, asking them what do they want. Just looking at people. I do a lot of people-watching. I don't try to force nothing on somebody; I just try to give them what they want as far as entertainment is concerned. I look at the future as being not much more web but more telephone. I look at telephone devices, I think it's maybe about two billion telephone devices. And the way that the music business and the entertainment business is going, it's all digital. The telephones is going to be a major focus of the future.

You're talking about ringtones?

Ringtones, digital movies, video-tones. That's one thing I'm really high on: the visual aspect. I think it's got to be the next step for ringtones. And being that all these phones, from the iPhone to the Sprint Touch and the other phones that are coming out this year, I think everything will be more digital than just hearing. So I'm looking at it from the standpoint of getting into it heavy from the visual.

So like when the phone rings a picture comes up?

When the phone rings a picture comes up. I mean, we're doing it right now. We're tweaking it. That's something we're going to be doing in the future. We've alligned ourself with some good companies that are capable of doing what I wanted to do. What I do is sit up and create these ideas. I've got these different tech guys. I've got one guy, Victor Nappe, who used to work for Apple. He's my CEO, so he helps bring my thoughts to life, tells me if it can happen and if it can't happen.

I was looking at your website; there's a musical component and a sports component. The music part, is it going to be a label or a label/management thing?

The music part is going to be a label. If you've noticed, there's no major label in the South, period. Everything is pretty much controlled by companies either from New York or California. If you notice, with Southern hip-hop it's pretty late when people get new product. We'll have, for instance, an artist who may be out in Florida or in the South, for six months it'll be the hottest thing on the streets. If that was in New York, if he was the hottest thing on the streets of New York, he'd be picked up just like that. The hottest kid in the Bronx is picked up like that.

He's picked up, but the albums keep getting pushed back.

The albums keep getting pushed back, exactly. Because it's a lot of politics. That's a whole nother movie with albums getting pushed back. My idea is if you believe in an artist, if you believe in a piece of product and you put out singles and do all the necessary thing you need to do as far as marketing that piece of product, you put it out. Other than that, why hold it? What we're trying to do in the South is have a major label where I can give a guy like Rick Ross a label deal, and I can pick up product real fast. It's the same way I did in the 90s and the 80s, where I just snatched up product that I thought was good, I snatched it up and put it out. But when I did go to a major company, I had to wait on the major company to put it back because they didn't understand my concept. This way, I'll be able to have the same machine and money behind me, like a Sony or Atlantic or something like that. And knowing what I know as far as the business, I can be a lot more competitive and do some of the things that I want to do with it that I think the public wants.

I read an interview with Scarface a couple of weeks ago, and he was talking about when he was president of Def Jam South. He obviously had success there; he signed Ludacris. But he said that he also brought them T.I. before T.I. signed to Atlantic, and the people at Def Jam, a New York company, didn't understand where he was going with it. So with your company...

With my company, a guy like a Scarface who's well-respected in the business, a guy like him or like Lil Jon, they wouldn't have those struggles because they would have their own label. And not just some little cosmetic thing; they would have their own record label where that label has its own A&Rs, its own infrastructure put in in the South where they could actually run their own company, just like Jimmy Iovine is capable of running his company or Doug Morris can run his company. They would have that access through my company. Hopefully it's successful enough and the stock grows enough where we could be able to support companies like that. Same thing with the movie business. You look at a company like Rainforest, who put out This Christmas and Stomp the Yard. They still have to go to somebody to get funding to do a movie after all that they've done in the last couple of years as far as generating revenue through box office. If this company is successful, if our company is successful, we'd be able to do a deal with a Rainforest, a joint venture where that'll be our studios and production houses, where they can do the films that they want. People like the films they have to offer, but not all the time do certain executives at these major companies understand the culture, this whole hip-hop culture.

But because you're somebody who's obviously been in hip-hop for decades and who has experience building all this stuff from the ground up, you're in a better position to be the head of this umbrella group. That's fascinating. It's also really ambitious.

I feel like it was my destiny when I start thinking about it. Sometimes in my life, I sit back and think about, like, Shit, why did I go this route? It would've been better if I could've got a record deal from the beginning. But then, I kind of feel like everything is happening for a reason, to get me to this point. And who knows where I might end up at? But if I did not have to sell the records out of the trunk of my car, I don't think I'd have known as much about the business as I know, how it works, and understand all the interesting parts of it. If I didn't intern at the radio station, I wouldn't understand how radio actually works. If I wasn't a mobile DJ, I wouldn't understand what makes people dance. And if I didn't go to the Supreme Court, I wouldn't understand the politics of the society. Everything that happened to me kind of happened to me for a reason. If I didn't get majorly screwed by Sony, I probably wouldn't have the ambition to want to make a change, to invest in a company where it's actually their company and not a foreign company. I look at it like every part of my life has been set up to get me to this point right here. It's got me excited, thinking about it that way, that I could actually end up helping people. I don't only work for the employees of my company and my family anymore; I now work for everybody that invested in me. And I'm happy to take on that challenge.

How long ago did the company go up on the ticker?

We did a reverse merger on the 18th. The small amount of shares that was in that shell, I think it was a couple thousand shares that were still left over in the shell of the other company. And this week, we issued paper to clear, so that paper was clear this week, and it's actually starting to trade through the brokerage houses as Luke Entertainment Group right now. So I kind of say this week, late last week, it became really Luke Entertainment Group.

So how has your life been changing over the last couple of weeks?

You know me; I'm a simple person. One of the guys brought in the certificate and said, "Hey, there's a hundred twenty million shares." And everybody else was excited, but it don't do nothing for me. What gets me excited is the challenge of making this company what I feel like it should be, of doing some things that we all set out to do. My fans people who believed in me, making them some money.

Because they can invest in the company?

Because they can invest in the company. Anything I ever did, anybody who checks my background, by being in Miami I always taught people the business. Anybody that's in the music business right now in Miami, whether they work for any other company, they worked for me before, and I taught them the business. So I always like to teach people and educate people. So even right now, by me going public and it getting the press that it's getting, it's brought more awareness of the stock market, that whole game, to the hip-hop audience. I get email, kids and adults saying "I'ma buy stock! Where do I buy it?" Or "This is historic, this is great, this is history." And you know they're not familiar with the business. We have a firm handpicked to deal with a whole different audience. You got to school them on how to purchase stock and where to purchase it from. If it's ten people or ten thousand people, it's already made an impact. If I have to stop or close up today, I feel like it's already did what it needed to do because I brought a whole different set of people, educated those different sets of people to the stock market.

Do you think you'll keep recording solo records, doing shows, hosting parties?

I'll probably go in and do some songs with some of the up-and-coming artists that's on the label, but as far as performing? I love performing. Touring? I don't think I'd be able to do that. Just like my early days in 2 Live Crew, I never went on a major tour because I always ran the company. The group could never go on tour because I couldn't be out six months doing a tour. I could only go out on the weekends. But I would definitely do a lot of events. I was laughing with some of the guys, saying now I could do concerts for my stockholders at the stockholders' meeting. But I probably couldn't do as much as I really want to do, just like always, because I got to run the company, and I couldn't afford to get caught out there in some crazy situation where I end up in jail. Some of these cities, you just look a certain way and you get put in jail. I couldn't afford to do that right now.

Your shows are legendary.

Yeah, they are.

Do you think you'll miss that?

I don't know. I think I probably will. I mean, yeah. If I'ma do a show, I'm going to give the people what they expect and what they want. I might have to be a little bit more creative with the shows. Like you say, the shows are legendary. They get a little bit wild sometimes.

What do you mean you'll have to get creative with it?

I'll have to be a little more, ah, creative with it. Put it that way. You'll have to come to one of the shows and see how creative I got.

I wanted to go back and ask a little bit about the musical side of it early on. Rap is one of the only kinds of music where a group from Memphis will sound different from a group in Los Angeles or a group in New York. Did Miami have a sound...

Yes. Bass. Booty-shaking music.

Did it have that before you guys?

No, it was no rap in Miami. It was no rap group in the South period before us. We were actually the first. And we created the bass sound. They called it booty or booty-shake, dance. We created that sound. And it's still big on the streets of Miami right now. What was created was booty-shaking music, chants, dance-oriented music. Every song had a dance connected to it, somewhat similar to what you see right now. Heavy bass. Party music where they do a lot of call-and-response. We created that, kind of through my DJing at the parties. We would do a couple thousand people on the weekend, and I would be talking over the songs and getting people to say things back to me. You know, call-and-response the whole night. We just took that and put it on records.

What kinds of music went into the creation of Miami bass?

Reggae. A lot of reggae. My father is Jamaican, and all my friends are Jamaican. I lived in Liberty City, and I used to make eight-track reggae tapes, Bob Marley and everything. You hear the bassline, the Jamaican bassline. The speed of it was based around Latino speed, with the congas and all the uptempo stuff, hi-hats. Being from Miami, it's a melting pot. It's Cubans, Bahamians, Jamaicans, Haitians in Miami. It's all island-oriented. So when we created the music, we had to make it fast, we had to have a lot of bass. When I DJed, the most important part, other than being a person that had the gift of gab, was the bass. You had to have a lot of bass in the music. Just putting all that together in with the music created bass music. And that's what it was.

I've read interviews where you talked about the importance of comedy records, Redd Foxx and stuff.

That was to make it different. That was to make the rap different from anywhere else. You had New York music, and you had record pools. And I'm looking through records, did not want to be like anyone else, just like today. And taking those songs and saying, "OK, we got to be different." 2 Live Crew, when I hooked up with them, they were more dance, conscious music. They were really conscious music.

And they were from California, right?

They were from California. Two guys, Mr. Mixx and Chris Wong Won, they were in the Air Force, and it was kind of illegal for them to do songs because they were still in the Armed Forces. And another kid, Yuri, I don't think he was in the Air Force; he was from California. He was doing the conscious music. And I be laughing at people when they say, "Oh, 2 Live Crew, you don't know nothing about conscious music" and all that shit. I kind of think 2 Live Crew was the first conscious rap group.


To be honest with you. "Revelation" was on the A-side, and the B-side was a song called "Beat Box." They were on this company called Macola Records, which every other West Coast rapper was on, from Eazy-E to Dr. Dre and all them. And they were on that label just sitting there. He wasn't paying nobody; it was just a outlet for those guys to get put out. And then I ended up signing them up, hooking up with them and saying let's do some music. So I took a little bit of what they were doing, took the Redd Foxx, Leroy Skillet, Dolomite. We started sampling that music, adding in those samples other than the samples that the average New York artist would do. And put a little bit of profanity in there. I kind of figured Redd Foxx is on TV every day doing Sanford and Son. Put this out, and this will get people all revved up. It'll be funny. That was the main thing. It was to be taken as funny.

I feel like when rap histories get written, Miami bass gets left out a lot.

All the time.

There's this conception that you guys didn't realize you were being funny. But that's really funny music.

Yeah. We knew we were funny, but the rest of the world didn't. Mass media we couldn't beat. I remember having conversations with my mother, God bless the dead. And she would just be amazed by how the rest of the world, how mass media would portray us. She was familiar with the records, too, the Dolomites and all them, because that's where I stole them from. She knew it was comedy, but some people didn't think it was funny, and some people didn't think it was dance music. Some people thought we were actually the ones who were saying the samples, and they didn't realize that that product was already out.

Do you feel like the music you've made over the years doesn't get its due?

I definitely do. The things that we did, when you look at music today, hip-hoppers owning their own record companies: We were the first. The way you market hip-hop music, from the rap vans to the street promotion: We did that first. We did that because I used to look and see how these political figures used to have their campaigns with the fliers and the signs and all that, and I was like, "Oh, this would be an inexpensive way for me to promote a song." So we kind of created that whole street-team mentality, what they call guerilla marketing. I was the one that put the parental advisory stickers on the albums; somebody, I think the RIAA, tried to take that and run with it. The first hip-hop company to have an R&B album to go platinum, we were one of the first to do that.

Was that H-Town?

H-Town, yeah. And just like you say, we get no credit. I get no credit at all. I look award shows, and you see people given lifetime achievement awards to artists. Some of them deserve it. But I look at one of the main shows that probably gets all my friends all revved up is Hip-Hop Honors. Every time that show comes around, I think I probably have at least five to ten thousand fans email me, and all my friends get all pissed off, like "When they gonna honor you? How could they just forget about that whole history?" And the biggest portion of it was probably going to the Supreme Court and winning there, protecting the rights of artists being able to do what they want to do, doing what they're doing right now. Look at the music videos. Before us, it was breakdancing in the streets of New York; that was basically the video. And we brought the sexiness in it, we brought the girls in it. What you have today, right now, is still what we started. So when I look at it, I don't know how people sit in a boardroom and overlook what we did for the music to this day. I guess they're probably waiting for me to die to give me some respect or pay tribute, and that'd be the only time that they do it, but it'd be too late. They'd just have to tell the story of the roads that we paved.

Does that piss you off? Is that kind of recognition important to you?

I mean, if I said no, I'd be lying. It does piss me off. But I think that's what motivates me to do what I'm doing right now. To have a company that's trading right now, nobody else has ever did it. Knowing that we're trading on the pink sheets right now, as we're growing this thing, it's beautiful. People tell me horror stories about pink sheets, and I say there are some horror stories because certain individuals went into pink sheet companies to use the system, to be unscrupulous. That's not me. I look at all these successful pink-sheet companies, and I say that's me right there. Grow from there to the next point. I'm excited about it. I'm happy. It's like starting all over again. I got to prove to everybody all over again that I'm creative enough in the things that I feel the public wants. We're going to fight to make the company successful.

Do you ever worry that the same things that have kept your music from being taken seriously might keep your entrepreneurial efforts from being taken seriously?

I don't think so. When I look at music right now, when I look at history, my audience from twenty years ago are grown people. Those individuals who were fan, or people who just did the research on Luther Campbell, they know that I was the businessman. They know I ran the company. Those people are forty to forty-five years old; those are the people who are actively involved in the stock market, in investing in the future. The other ones coming up from twenty-five to thirty, some of them understand the history. There's going to be a whole large segment of people that probably say, "Oh, I wouldn't buy that stock to save my life." So be it. It's a large segment of people that don't buy Google. You know? Everybody's not going to buy my stock. Everybody's not going to be happy about us being on the stock market. Everybody's not going to be happy about some of the moves that we make. But the ones that do participate, at the end of the day, I'm going to make them happy that they bought stock in Luke Entertainment Group.

What kind of music do you listen to at home now?

Me? That's a good one there. Man, I'm all over the place to be honest with you. You name it, I listen to it. I listen to all types of music. I go from rap to rock to soft rock to classic. I listen to everything. I sing songs because I like the songs and don't even know the artist. You put certain songs on, I'll be singing it, and people will be amazed that I know those songs. I remember my fiancee, I was singing an Alanis Morissette song, and she was bugging out, like "I can't believe you like that." I'm all over the place as far as music. I'm not just hip-hop. Some hip-hop I can't stand. Some of it I love, some R&B I love, some I don't. I'm all over the place.

You mentioned your fiancee. You're engaged?

Yeah, I just got engaged.


Thank you. Not too many people know that. You just busted me.

Your fiancee must know about things in your past.

Oh yeah, she knows everything. You have to give her a crash course, and then you got to sit down and give her family the crash course. You have to protect everybody that's around. These days, all you got to do is Google some-damn-body and their whole life history comes up. She's a very good girl. This the second time I been engaged, and when I walk down the aisle, it'll be the first time I walk down the aisle and the last time I walk down the aisle. It'll be the last time I get engaged. I don't plan on doing it anymore.

So you're settled down, then?

Yeah. I always been settled. A lot of people think Luke means crazy person, wild parties, all this. When I go do my work, I do it good. When I go to a club, go to an event, go do a concert, for those two hours I give people they money's worth. That's my job. So everybody has this perception of me, that all I do is party all the time, which is really totally the opposite. That's why it's easy for me to be running a publicly traded company. Every day of the week, I'm working. All day and night, I work. People go into my home and they think they're going to see stripper poles, somebody smoking weed or something, girls running around naked. That's not the case. You'll see a laptop, you'll see it being transferred around to different rooms, you'll see me working till three or four in the morning and then going to sleep for about five hours and then getting up, going back to work. I've been like that. I've been a workaholic for so many years. That's why it was so difficult for me to find a good woman that's compatible to me.

Looking back on all the shows you've done, do you have one story that's your favorite?

Aw, probably the Japan show. Man, that was crazy. That show had to be the most outrageous show I've ever did. Every night, the girls would be grabbing all on our crotch, and then they came up on stage, and them girls, um, that was a memorable show. That was wild.

I went to school at Syracuse, and I heard stories about a show you did up there...

Yeah! You wasn't there?

No, it was the year before I got there.

That was my last time. That was the first time and the last time, yeah, at the Carrier Dome. When I go to college campuses, normally I'm not invited back. Because I get them revved up. I think college students normally are not as rebellistic as they used to be back in the days. So I get them all revved up, and faculty and stuff get all nerved out. But that's what I do. I give the people what they want. I would do shows, and they wouldn't be scripted. My shows are never scripted. It's based on the audience. I have certain songs that I'm gonna do, but it's like a party, like I'm DJing. So I'll do this song, do that song, and ask people what song they want me to do. So some nights, I'm out there for a hour, two hours at a time, just having fun and getting the crowd involved in it.

So the freakiness that comes out, that's the audience?

Oh yeah, the audience, definitely. You'll never see me get naked onstage. I guess I make them feel good enough that they do what they want to do. They want to get loose. So I invite people on the stage, and before you know it they start taking clothes off and all that wild stuff. They just be loose and having a good time. Me personally, I think it's a place for that. I always did. I never had no regrets about what I did, even to this day right now. Because we live in a world where it's so tough. You gotta go to work, you gotta pay your taxes, you gotta pay for your kids' school. College students, they gotta get grades. It's just so tough on people to function everyday. And they need entertainment where they can just say "Fuck it." You know? "We want some pussy." For them couple hours, I can have them not think about none of the things that they gotta think about at home. And that always was my intention in doing shows.

So it's a release.

It's allowing people to have a release. Just come in there, and I will provide the energy and do my part of it. I get onstage, and I say, "This is the place where you can just get up and say whatever the fuck you want to say." People just release, and they just feel so good. I don't remember the last time I had a record out, but I can do shows, and they get sold out. I can go do an appearance or something, and I don't just sit in the booth looking like I want everybody to come kiss the ring. I get up on the microphone and get on the dancefloor and have people partying.

And the music that you're going to be doing for your label, are you looking for it to have that sort of release to it?

Oh, definitely. Music will be something similar to what we did when we gave people H-Town. Nobody expected psycho-man Luke from 2 Live Crew to give you an R&B group with so much talent and other R&B artists and other rap artists like Poison Clan, different stuff like that. Nobody expected me to give them that type of thing. And someone who's just supposed to be stuck on one type of music, that's the type of music that we'll be involved in: music that people would like, that they'll relate to. Music that will get people up partying, not depress them; I don' t think I'll have things on the label that'll just make people more depressed. Really energy-oriented stuff. and I'll trick a lot of people. I like doing that. Some years ago when I put out a Christmas album, we probably sold about a half a million of them. People were just so amazed that I would come with a Christmas album. I'm just so much involved in different types of music, and I like keeping people off balance. But it goes back to giving people what they want. Right now today, if the company was public eight months ago, you would have a Christmas album from Luke Records with new Christmas tunes, because I'm sick of hearing the same "Silent Night." It would be new things, not things redone from old things. Those are the type of creative things that we like doing. Myself, I listen to the radio, and I hear Christmas songs. It's like God, I'm forty-some years old and I been hearing that song all my life. When is somebody going to create some new Christmas songs? And that's hopefully what we'll do in using the platform of the telephone and all the technology that we have surrounding us, taking that from music into visuals. Instead of a ringtone, you'll be getting a video-tone. Our marketing strategies is going to be visual. We'll give out those ringtones for free, but at the same time, at the end of the day, when we give out those ringtones and we have access to that database, then those individuals will be able to go purchase video-tones. When I go do an album from an artist right now, I'd say seventy percent of that artist's album will be already on video. That's the direction of marketing that we're going to go in. The same way we created guerilla marketing, we just gonna market more from the visual standpoint going forward right now. To be able to market to people: Hey, you want to hear a song from the new Blaze? Here's Blaze's new song. Boom, you can see him recording the song. You'll feel more a part of it, make it more personable. With technology today and how these phones are, everything is more personal. And what we created in, it'll allow people to go on there. Instead of a guy sending me a demo, right now he can go on and put his own demo on there, whether it's visual or just regular music. We're really trying to change the face of how music is presented and change the face of how music is presented. Having the whole world have access to the company, to say I like this artist and I don't like this artist. If a guy is sitting on a YouTube and it's a million people logged onto the website and he has his demo uploaded to our website or his video demo is uploaded to our website and people are voting on him, saying he's the next thing since sliced bread, we'll automatically put that kid out. We'll automatically take him from the website. And other companies will have access to that website as well because it'll be public, and that artist can get picked up quicker. He can get promoted, and he can be viewed by a vast amount of people much quicker than any other artist.

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