Ever wondered what it takes to make it in the music industry? Just tune in to our latest episode of Spit 2 Da Beat podcast where we chat with the legendary singer-songwriter, Larry Springfield. This Memphis native walks us through his incredible journey in music, from his early beginnings to signing record deals with industry giants like Motown and Taboo A&M. There's a lot more to Larry's story than just his brilliant music, as he shares invaluable insights into the business of music and how he learned valuable lessons from his first record deal with Mega Jam.
We shift gears in the second half of our conversation to discuss the current music landscape and Larry's thoughts on artist-producer partnerships. As a seasoned artist, Larry also shares his secrets on how to connect with audiences and the importance of artists playing to their strengths. He offers precious advice to aspiring artists on navigating this challenging industry, emphasizing the role of a vocal producer in the studio.
If your in the music industry- singer, songwriter, composer, indie, neo singer, rapper, country artist, promoter, manager, music lawyer or blues please email me to be a guest on my show at myguest@spit2dabeat.com I would love to hear your Spit about the Music Industry.
Ever wondered what it takes to make it in the music industry? Just tune in to our latest episode of Spit 2 Da Beat podcast where we chat with the legendary singer-songwriter, Larry Springfield. This Memphis native walks us through his incredible journey in music, from his early beginnings to signing record deals with industry giants like Motown and Taboo A&M. There's a lot more to Larry's story than just his brilliant music, as he shares invaluable insights into the business of music and how he learned valuable lessons from his first record deal with Mega Jam.
We shift gears in the second half of our conversation to discuss the current music landscape and Larry's thoughts on artist-producer partnerships. As a seasoned artist, Larry also shares his secrets on how to connect with audiences and the importance of artists playing to their strengths. He offers precious advice to aspiring artists on navigating this challenging industry, emphasizing the role of a vocal producer in the studio.
If your in the music industry- singer, songwriter, composer, indie, neo singer, rapper, country artist, promoter, manager, music lawyer or blues please email me to be a guest on my show at myguest@spit2dabeat.com I would love to hear your Spit about the Music Industry.
Welcome to Spit to the Beat podcast. I'm your host, stacy aka B Unstoppable Perrier, and today we are in the virtual studio with my very special guest. He's a legend very known around here in the city of Memphis. But before I bring them all you know how I do I go ahead and keep that show off. Let me let you know that you can catch video clips of my show episodes on Facebook and Stacy Beat Unstoppable Perrier and Stacy Spit to the Beat Perrier.
Speaker 1:Don't forget to go on my YouTube channel, edspit to the Beat, and catch the full video episode of this and all my latest Apple shows on YouTube. Don't forget to subscribe, like and hit that notification bell. I really would appreciate it. Thank you so much, but today I am honored and I'm privileged to be joined by a very special guest, no stranger to the city of Memphis and nationwide, been singing for a long time in the music industry, the ears and the out. So he's here today to share with us all, spit to the Beat, his life journey in the music industry. So I will bring him on right now. My guest brother Larry Springfield hey, hey, hey.
Speaker 2:How you doing everybody. This is man. Pleasure to be here. Appreciate you for having me. Appreciate you for having me.
Speaker 1:Yeah, yeah, yeah, I want to die right into it. Well, first let me ask how's your day going, man?
Speaker 2:Yeah, I mean it could be better. I mean I've got a couple other things that I do and it's not as good as music, but I mean it's up and down, so I'm all right right now.
Speaker 1:Music is still your sanctuary, huh.
Speaker 2:Yeah, I mean it's where I find solace man, so yeah, there you go, there you go.
Speaker 1:Let's die right into it. One of my first questions Tell a little bit about yourselves.
Speaker 2:tell a little bit Well, born and Raised in Memphis Born and North Memphis actually, that's why I guess I get all of my street cred, I would say, in Smoky City. But I started singing man professionally, I would say about 17. I was in this contest, actually, your significant other introduced me to this place called Club Royale on Hill Street and I started out singing there in a talent show and from there people came to see me from record companies and shows like Star Search and so from that particular restaurant or from the shows that I did there, I got put onto the professional scene on Hill Street and had a couple of record deals with Motown and Taboo A&M under Clarence Avant, and so basically that's how I got my started music professionally. For as far as doing records are concerned, but as far as just performing, hill Street was my jumping off point.
Speaker 1:What age did you start professionally?
Speaker 2:Man 17. I mean, I was right out of high school doing singing, like I said, in these different talent shows and things of that nature. From there it happened. But I actually I was singing. Of course, when I was younger I actually thought I was going to play football. So I called myself going to go to college and play professional football. I thought I was a prototypical wire receiver. But I mean, life gave me God had other, I guess, aspirations for me or he led me in a different direction, so the singing thing was always there. So I guess it was a kind of a crutch and I didn't know that it would propel me into the things that I've done so far Because, like I said, I was looking at a totally different career, but luckily I had that thing to lean on.
Speaker 1:So yeah, what inspired you to become a singer on a songwriter man? I mean, you started at 17. But what triggered that moment?
Speaker 2:I guess, seeing, first of all, I was always I just love music, period. You know any, basically any genre of music. I mean I always loved it. Like I said it was, it was natural, it was innate. Singing is an innate thing. That's in my family, so people my uncles, my mom can sing, you know, and my father sang, so it was a part of my DNA. So it was relatively easy and sometimes you take those things for granted, but anyway. So I always liked music and then when I found that I could actually make money and make a living at it, that's when I started to, you know, pay a real, a pair of attention and I started writing, writing with people went to Los Angeles.
Speaker 2:Well, with my record deal here, because I got a record deal, there was a small company that came to see me who that was actually located in Memphis and I learned a lot of business from that record company. It was called Mega Jam and it's got by the name of Terry. Terry Starks was the CEO. He gave me my first record deal and from there we signed to Taboo A&M and then we signed to Motown. But Terry was the person that showed me the ins and outs of the music, the business side of it.
Speaker 2:Because when you're a singer, oftentimes you know you want to sing, you know you want to make money at it, but how do you make money? What are the mechanisms to make money? Like if you're a writer publishing in your, your writers, you know that type of thing Points for being an artist. You know that type of percentage of the record that you get what's a good deal, what's a bad deal, things of that nature. And oftentimes people fall into these, these things where they want to be stars, whether they want to be a part of the music business.
Speaker 2:I learned in the early age, man, that I want to be behind the scene. I'd rather be behind the scene and be silent and make the money than be out front and broke. I mean, there are so many instances where you hear like when I was really into the music back in the late 80s, early 90s, like when you would hear stuff like when TLC and Guy and those guys were broke after making millions and millions of records you're like, okay, how can it happen? And it depends on the structure of the deal and where they are in the deal that will allow you to be, to prosper, or whether you be broke. So I learned that through Terry and all of the things that we did there in Megajan.
Speaker 1:So oh man, that's nice, that's one, and basically that's what my podcast is. Definitely. It's all about bringing on the artists who teach up and coming artists, the behind the scenes as well. As you know, they always want to get on the stage, get in front of the mic, but you need to make the other sides of it, and the way you share it is so powerful that it will ring a long way when my audience and those upcoming artists I really do appreciate them.
Speaker 2:Yeah, man, it's all good. I mean, I like telling people about the ins and outs of the music industry because people is glorified and the one thing that you get is a lot of eyes on you. You know, that camera, that eye, you know, kind of makes it blows. It gives people a grandiose persona when it really they should take their time. And you know, because you can be enamored, like I said, by your coming up or a lot of people seeing you. But you got to ask yourself do you want to be popular or do you want to be rich or do you want to make money?
Speaker 2:And I would tell people often all the time I'd rather be paid than you to know who I am M&M'ing is. You know, it's something that is you know not. It doesn't give it, it doesn't get enough praise. I'd rather be anonymous and be able to walk down the street and spend the money that I have in the bank rather than everybody know who I am and be broke because I mean, there's a, there's a, there's a thing to go along with that as well.
Speaker 2:So I'd rather be behind the scene.
Speaker 1:Definitely. Hey, the old time. I'm going to come back and talk a little bit more about, you know, modern day music with all this digital knowledge.
Speaker 2:OK, oh my God, yeah, I'm here.
Speaker 1:Hey, this is Stacey AKA Beat, unstoppable Per Year with Spit to the Beat podcast. Would you like to be my guest? If you're a singer, songwriter, musician, producer or promoter, give me a call at 901-341-6777 or email me at myguessatspit2thebeatcom and we're back to split to the beat podcast. Your host they say AKA B on Stop Over Prayer. Join me in the virtual studio. A legend known all over the city of the San Nationwide, mr Larry Strange. He's dropping on them nuggets already on my audience, so I hope y'all can be picking this up and getting this information. It's very valuable. Hey, man, we're back. We're talking about what you just talked about the business aspect of music industry. Now that I'm talking about, with the new digital platforms and streaming and all that stuff, I know you would now have had a chance that people don't know that before. They all did. Now to experience this, how does the digital and the streaming and all that stuff plays a role into the music industry?
Speaker 2:Man from, I'm a dinosaur and if I think, if I had the platforms that are out now, if we had that stuff back then to a certain degree you wouldn't need the record companies. Because right now you see that with the event of TikTok and Instagram and all these things, people become more, they become popular without even really having to get out there and do a lot of marketing.
Speaker 2:I mean, with the click of a button, you can get exposure to people that you wouldn't have gotten the exposure to because of. There are so many different lanes, so many different types of platforms, so much social media that if you're halfway good, people see you and sometimes it's kind of tricky. Let me take a step back. There are people who are stars because of these platforms, but you can look good and people can put you in the studio or you can sound good, but if you don't have the right again the business acumen, and then have people who have a plan for you or plan for y'all, you still can fail. Like I said, it's cool being popular but you'd rather be paid so. But with this platform and there's so many ways if you have somebody, have a team of people who could take the social media along with the radio and along with the other methods of media, you can become a star quick. But you can jumpstart your starting from these platforms, like these podcasts and, like I said, tiktok and Facebook and all these things Instagram, yeah, cosmetic.
Speaker 2:There's just that you can touch people that you normally wouldn't, I mean. And then when you go viral in the ad, especially if you're good, let's say for you, if you're a good looking person, that's gonna get you to the door because people are gonna wanna look at it, but that's never gonna change, no matter what error you're trying to do music in. But then if you have a great song that trumps everything, now that great song with a good looking person on a platform like this can instantly shoot a person to start them. So I think this is an aside. I think that the world or R&B or soul music is prime for something strong to hit it. If somebody can put all those things, if there was a combination of TV, radio, all of these other platforms, if somebody can take advantage of that and be a one stop shop and be able to push out artists through those things, I think that would be something. You don't need a record company to a certain degree, because you have all these other platforms.
Speaker 2:There are guys doing records on Mac computers. I mean real records. I'm talking about hit records on something that costs you $1,200. Where, when I was growing up, when I was coming up, you go into a studio, a SSL board costs you about $300,000 to a half a million dollars just to record on that system. You know what I mean. But now you can do a record for $1,500 to $2,000. I'm talking about a record record. So it's gotten easier.
Speaker 2:But the thing is finding the talent, getting those hits, you know, and having your business, I guess on point as well. But finding the hit man ain't nothing like a hit. You can't deny it. It may not if you got hit on the wrong person, then that's the issue. But a strong song stands at test of time. If you look at some of the things that happened, I'll give you DO Warrick did a song in 1973. Then Luther Vangior did a song in 1980. And then somebody did the song in 2010. That's a hit. You know what I mean. If you're looking for a song, if it's a hit, no matter when it's done, it's gonna be a great song. So you put that on the right person now. Oh man, the world is your oyster, but it's just trying to find that culmination of things. Like I said, a kid become a TikTok star and make some money, but whatever you have all of those things align. Oh my God, he be a superstar. So it's easier now. It really is easier.
Speaker 1:You just talked about Touchdown, a little bit about Thomas Music with Deion Ward, Luther Van Drowley's and that same song and making it out of it. What was your musical influence and to your style.
Speaker 2:Man when I was younger. I was when I was a kid. If you'd asked me what I wanted to be, I would have told you I wanted to be Michael Jackson. When I was growing up.
Speaker 2:Because he was just a dude. But as I got older and started listening to music, and started listening to not just the singer and how popular he was, but things that related to me and what's going on in my life, marvin Gaye Dunne had to weigh in Stevie Wonder. More so Marvin Gaye, because I mean the way he delivered the first, the lyrical content, the subject matter, in all facets of his life. He kind of spoke to me in the things that I was going through. So to give you an example, the man was. He wrote a song in 1973 that's still relevant today and I mean there are things like that happen. But from what's going on to let's get it on, to hear my dear, I mean all of that is like a, even though this man probably I mean he didn't know, don't know who I am Songs that were done in those on those records and on those albums reflected my life and it probably was because I was a young Afro-American brother trying to do things in the music industry and going through the same thing that he was going through socially, economically and personally.
Speaker 2:I was able to kind of really become attached to Marvin Gaye. So he's one of my favorite singers. And then Donny Hathaway, with the songs he was singing, and Steve Wonderman it's just, they're just, they're live. I mean, their songs is just, I guess, a soundtrack or two, a certain degree, of my life. So yeah, those notes are against the Spanish bottom. Go ahead.
Speaker 1:Cool, cool. What is there? A rebirth of Larry.
Speaker 2:Come on, larry man, you know I'm gonna tell you I don't think there's a rebirth. I don't know my time you got, but I don't know if there's a rebirth. But I'm really a stickler on trying to put other people on. I don't know if it's not been seen, but I'm working with some people who are from Catch right now and I think it. Like I said, I think that these platforms, along with other forms of media, if it's the right time and if you have the right project, you can manufacture the same that you can do right now what Motown did back in the early 60s and 70s. You can do that now but it doesn't cost as much. But the one thing you have to have is artists and hit songs. There are a whole lot of man. Memphis is prime. There are so many wonderful artists in Memphis that we can't that you don't see, because they're too busy trying to live and trying to navigate this social media thing but then trying to pay their bills, you know. So they don't have time to concentrate on that crap. But then there's writers as well. But I think that there was another platform and if there are some people who to get out of the way, because I'll say this, they said just real quick some people try to manipulate these artists and not give them what they're worth. I mean that's in trap music or hip hop or, you know, drill or whatever you would call it.
Speaker 2:There are some people who take advantage of these kids who want to become stars and they know that because it happened to me and Stephanie and a couple of other people. They knew that we were trying to be, that we wanted to be stars, so they kind of took advantage of us. They gave us, you know, crazy deal. I had a good deal, actually For the time it was a good deal. I got 20 points. If people don't know what the point system is, there's 100 points or 100% of a record. Oftentimes the record company got a line, shared it so but now, with these platforms, these kids can own 100% of, they can have 100% equity of themselves if they play it right Now. What I would do, I would partner with the person and that's what I wanted. I would partner with them for, let's say, for instance, larry Springfield LLC, and that's you and me as a partnership. I put the bill, you the talent, I come in, I bring in writers or producers to write with you, whatever they think, 50-50. Because remember.
Speaker 1:I'm doing all the marketing.
Speaker 2:I'm doing all of the writing, getting the people to write for you If you're a writer, I'm not gonna mess with none of your publishing not gonna mess with none of your writers, any of that.
Speaker 2:You can do whatever you wanna do with that. But as far as trying to make you a star, that's what we're gonna do together. It's not gonna be me, it's gonna be us together. So it's a partnership and I think, if you do and we're working on how to get that to push that thing out but I think, if people work with kids, work with these artists as partners, rather than getting them to sign a contract and you fulfilling everything, because on this end you're gonna go continue to work- I'm gonna have the money and we're gonna make you a star.
Speaker 2:We're gonna try to do what we can to make you a star. That way it's a partnership. I can't pay. You. Give you an advance before you live. Now we gonna work as a unit.
Speaker 2:So when I start getting, when you start getting paid, I start getting paid. When I start getting paid, you start getting paid, and all I'm gonna do is recoup 50% of what it is. You don't have to bring nothing to the table but your talent. And that's what it should be, because if that person it's like Coca-Cola If you know you got the right item or the right thing to sell, somebody needs to push it.
Speaker 2:If nobody knows about Coca-Cola, if nobody knows about the syrup that goes in the Coca-Cola bottle, they're not gonna buy it. But that thing is so wonderful that anybody would push it because they know how wonderful it is. So with me, if I can push an artist and get one or two songs in that person and they blows up, that helps both of us. But if nobody hears about you, if it's not for a guy like me who has the money to push that thing out there, nobody ever hear from you. So it has to be a work in concert. You do what you do and let the company do what it does, but we work as a partnership. So that's what I'm trying to. I'm trying to get more people to do partnerships than sign themselves to a contract that doesn't work in their best interest. So let's go ahead.
Speaker 1:Hey, hold tight one more time and take just one more break. Okay, all right, go ahead. Hey, this is Stacy aka Beyond Stopover Peru. Thank you for listening to our show, spit to the Beat podcast. If you would like to be a sponsor, visit our website at wwwspittothebeatcom and click the support tab and leave a donation. We really will appreciate it. Thank you again for listening. Also, catch every episode Thursday morning at 8am and we're back to Spit to the Beat podcast. I'm your host, thanksakab, on Stopover Peru, and join me virtually my guest. He's feeding us the knowledge behind the scene, behind the money, whatever, and then involving this new technology that is so available to artists now that's what it actually is and dealing with these new artists today, and they're so eager to be a star and get into the fame or everything. How do you save them? As far as the frustration of being patient, understanding step by step, man.
Speaker 2:The key word is being patient, first of all. No, let me step back. You have to be Self-aware, know who you are. You need stage time as well. You need to be on stage because, again, being able to sing is one facet of being a star. You have to be able to communicate with people. You have to be able to know your audience. You have to be able to bring them into you, make them comfortable, make them feel relaxed, because if you are a singer and they like you, they like what you look like and they like how you sound, you got them. But at the same time, if you can make them feel at ease, if you can make them feel like they are your friend.
Speaker 2:You may have never met this person before in your life, but there is a degree of comfortability from talking to a person, and there it was. I can relate to this person. This is what they say to you. I can relate to him because it seemed like he was talking to me. You may be talking to the entire audience, but if you can make a person in that audience feel like you're talking directly to them, then you have done something and that's a skill that's developed. A lot of. Some people have it naturally. But you can develop that thing by being on stage, knowing what works for your voice, because there are people who may like the way Beyonce sing, but hey, you sound like what's that girl's name? Tony Braxton. If you sound like Tony Braxton, let's not try to do a Whitney Houston song. So know what's right for you. Know what you're going to get house on. Let's, for instance, if I tell you, since you sound like Tony Braxton, do a Anita Baker song or do something. Do a Gladys Night song and then go get the song that everybody loves. Practice that thing. Don't be a. We want you to do your stuff, but practice on learning how to engage your audience and what they will like to hear from you by listening to those people that you kind of not sound. You don't sound like them, but your voice has that texture or that timbre or that range. So know where you, who you are and what you're good at, because trying to sing a Whitney Houston song when you sound like Tony Braxton, that people are going to see through that and then you can find that there are.
Speaker 2:You probably get a better delivery of the songs that you choose when you choose people that sings in an alto or a contralto. In that, in that, that vein, that's fine. You may sing Anita Baker or Whitney Houston in Beyonce in your in the shower, but when you get on it perform. When you got to hear it really perform. Perform those songs that fit your voice and then know how to perform those songs.
Speaker 2:Let me tell you what I mean by that. You don't just sing a song. Listen to what the listen to the subject matter, listen to what they're singing about. Find that in yourself and find that in you. And I don't mean to be philosophical, but you have to be able to go to that emotion. Because when you're able to go to that emotion and you give a better delivery and people can feel that she's. Often times people just sing because they like people riffing and things of that nature. But when you ask yourself, why does a Darryl Coley riff when he does? Because he's he's anointed. A lot of people want to hear hear Darryl sing, because they want to hear the tricks he can do. But when Darryl does a trick, it's not because he's doing a trick to show you his vocal acrobatics. He's showing you that he is anointed. So I don't know he's singing but he's telling the story.
Speaker 1:He's telling the story.
Speaker 2:When he tells you that he's been healed Right, the anointing is moving through him. Or you know what I mean. Or, kimberl, the anointing is moving through those people. So my point is even if you're singing a love song and it's from Burke Backerac, listen to Burke Backerac's lyrics, the subject matter. If you can feel it, then you can be. Then deliver that thing the right way.
Speaker 2:People are going to feel you and I'm saying there's nothing like that. That's the second thing. First of all, being able to relate to the people that you're talking to, that you're singing to get them, bring them, lure them into you and then be able to deliver the song that you're singing by knowing the song that you're singing, that's the second thing. And having great musicians behind you, there's nothing like being able to know how to control your musicians. Y'all too loud, bring it down. I need y'all up here. We got to give energy there. All that just knowing how to control the stage, man, I mean, it's golden. So that's on a performance side. But as far as making the music, you have to trust the person that you're in the studio with your producer, your track maker, your beat maker, whoever it is. You got to trust that those people are able to give the best vocal performance out of you. And if you have track makers out here who are not vocal producers track makers beat makers. Don't be offended. Hire yourself a vocal producer.
Speaker 1:If I'm a person and I know I can do vocals, I can be a vocal producer.
Speaker 2:I'm gonna go find I got a friend of mine. His name is Jonathan Richmond, great tracker, but he's also a great vocal producer. But if I want to produce a vocal on a person, I'm gonna get Jonathan through the track because he is. I mean, I'm talking about Grammy winning. You know these are Grammy winners. Six July, a Grammy winner do a track. They may have vocal producers to come in, but Jonathan, let me, don't need a vocal producer. He's a great vocal producer. But these people who do these tracks and these beats, you might have somebody to come in to give you to be a vocal producer for you so you can get the best out of your vocalist, male or female. So that's another thing knowing what you're doing in a studio and then having that hit. I mean, there are some hit makers in Memphis, man, but it's just they don't get a chance to display their talent because it's just they're too busy trying to make a living.
Speaker 1:So but anyway, yeah, and then they don't produce good music, it don't last.
Speaker 2:A lot of them don't. But I'm gonna tell you, man I believe in. I've gone all over the country, man, I promise I've been all over the country. However, it's something about the style of music that Memphis, that the Memphis musicians we do. There's a couple of people I know that are bona fide stars in Memphis. I'm not gonna mention their names, but they are superstars here. However, to your point, sometimes they make bad music or they just don't have good business sense, and that's another thing. Not wanting to listen, cause I'm not trying to control you, but I think I've been where a lot of people in the Memphis industry is. I've been where they are, so I think that I can give them advice. I don't wanna control, just take the advice from being under Clarence Avon, from being on a low solid. So now there's people back in the day who were hit makers. I think I can give you advice on how you should do, how to create a record. Now, how you put that record out is something else.
Speaker 2:All these different platforms just SoundCloud, what is it? Apple Play, apple Music getting on these people's playlist? There are a lot of people out here who are superstars with different playlists. If you can get a song on one of their playlists. There's a young lady right now. Man, what's the girl's name? The Isley Alex, isley, isley, alex. Yeah, she is okay and I promise this is the last point I'm gonna make. This young lady works with so many different producers that if she came out today and did a tour, people are gonna cause she, everybody knows. I didn't know who she was, but she's on so many playlists with so many different producers because she's just getting herself out there and now I never heard of her. But I talk to people I say, yeah, we heard of Alex, and why is that? You heard of her?
Speaker 1:My bad.
Speaker 2:No, but go ahead. Go ahead, bro. I mean I'm talking a lot, so I mean I just I'll go ahead, I'm done, I don't wanna.
Speaker 1:No, you good you good, yeah, go ahead. My last question to you is really based off. Okay, what can we expect from the layer of Springfield in 2024? We're closing out the year. You was talking about regular artists, so you still don't work with artists. You come moving in 2024, what's the plan?
Speaker 2:Well, here's the thing. Like I said, I wanna introduce as many people as I can to the Memphis and the artists. I mean Memphis, the artists in Memphis. So I have Sugar Shack, I have my restaurant and I don't wanna do a talent show, but I wanna do something to give these people, these guys, a way to be heard and, like I said, to get that stage time. So I'm open to doing something like that. But I'm also talking to a couple of people about doing that Motown thing that new Motown.
Speaker 2:It's gonna be something different, but I'm trying to do that Motown thing here. There's too many people in Memphis and abroad that need to be seen, but they just don't have the outlet. So I'm gonna try to create that outlet for them.
Speaker 1:Sounds good, man. Hey, when you say it's your time coming on the show I know you're busy, man I thought I ain't gonna hold you no longer. Man, you dropped so much of weapon knowledge on your show. Now I'm preaching you, you need to write a book.
Speaker 2:You need to write a book. That's how man listen.
Speaker 1:You don't really need to write a music book man Listen. I'm serious.
Speaker 2:But for real, stay safe. I'm really gonna try to make some things happen for people in Memphis.
Speaker 1:And I want to be fair and equitable.
Speaker 2:I want these kids to get a chance and it not cost them their life.
Speaker 1:So, yeah, there you go, there you go. Well again, thank you for joining us. I'm Spitz and the B podcast. My pleasure, my pleasure All the time as I grab up the show. I appreciate you again. Okay, hey, this is Stacy aka B Unstoppable Perrier. Thank you for listening to our show, spitz and the B podcast.