Andy Fickman

But it screwed us because we were – you're doing that thing where – and we got all of ESPN.

We got Marv and Boomer.

We had as much as we could, yet you're still doing that thing where you're like the Boston Rebels.

Right.

Everyone's happy.

Now it will happen a lot of times because usually, you know, publishing gets half and that matches what the artist gets.

So theoretically, they'll say, OK, it's fifty thousand dollars.

Twenty five.

Twenty five.

Herman, he says, no, I don't want to do it.

So the deal's over.

Publishing will come back and they'll say, tell you what.

We'll still give you, we'll sell you the rights if you guys go re-record it and you get that soundalike who comes in and sounds just like Herman.

And you go in and now for $30,000, because you paid that guy $5,000.

Sure.

And now somehow you still, so the artist sometimes can still get.

Yep, yep, yep.

Raped at the Garwatch.

But you'll get calls from the publishers also.

You know, they'll bait and switch because they'll say, well, I know you can't afford that song.