Transcript
That's why that's the holy grail. >> It's to protect you as a writer. >> Right. >> Why do I have to have two? >> Okay, so when you were an artist, everybody's got their finger in your pocket except for one thing. The writer side of PRO money comes with none of the sticky fingers on it. That's why I do. That's why that's the holy grail. >> It's to protect you as a writer. >> Right. >> Yeah, because nobody You can have a billion-dollar advance, but your writer share from ASCAP comes directly just using ASCAP's name, comes directly to your pocket. >> Right. So, I I but I want to be clear like I I literally just made my first song. >> Yeah, but you're you're building towards the future. >> things. I have to have a publishing my publishing company and my writer that which is me. >> The artist in Buffalo Ani DiFranco, right? Wasn't that her name? I mean, she built this, you know, DIY empire, but most folks are building because to your earlier point, Z Mac, if you want to play Madison Square Garden, you're not an indie. So, most people want to be on the cover of magazine, want to play in arena, and at least at the moment, you still need the big label muscle. So, you want to build a structure that they can step into easily. So, that's why you're right. >> Got you. So, like let's say you're you're 100 songs in and now you're like your career is taking off, you're going to do things with the publisher share of stuff, but by law, right, the writer share always and only goes to you. >> And they never recoup against it.