I want to hear about feedback you got, what that experience was like, but how did you become involved to be sort of like an artist mouthpiece for this stuff that we're talking about?

Yeah.

I mean, there's a group, there's an advocacy group called the future music coalition, which was founded and run for a long time by friends of ours that I've done work with over, over 20 years.

And they were involved in, in sort of putting in helping put advice on putting the hearing together and, And they had two, the panel was going to be these two politicians, and then they wanted a representative from the three categories of the music industry.

So a venue owner, an independent promoter, and somebody from artists.

And I think, I was not their first choice, that's for sure.

Kevin from FMC was like, we have to talk the members down from their expectations.

Like,

Sure.

Um, so there are, there are two kinds of copyright that you can have on a rec- let's say you make an album of original material.

There's a copyright that's based on the recording of those songs, that's called the master, and then you have the copyright on the songs in the abstract, and that's the songwriting and publishing.

So for example...

And th- those are two different royalty streams.

And the royalties from the ma- the, the, from the master, go either to the recording artist, i.e. the band, as the people who recorded the songs, or very often to the record label it- because it's, it's premised on who paid for the recording, right? If you paid for the studio time, you own that recording.

So that's the sort of th- that royalty stream, at least in theory, can go to the band and be split evenly among the band.

Um-