PURARI: Hard Work Beats Talent, When Talent Doesn't Work Hard 💪

• Balancing work and family life can be challenging, but setting boundaries is important.
• Building relationships in the industry is crucial for career growth.
• Patience and realistic expectations are key to achieving success as a DJ.
• Finding unique ways to stand out from the crowd can lead to more opportunities.
• Incorporating live elements into performances can create a memorable experience for the audience. 
• Quick success in the DJ industry is rare and often comes from having a built-in fan base or a platform to leverage.
• Building a solid foundation and putting in the work is essential for long-term success as a DJ.
• Coaching and mentorship can help DJs and producers reach their full potential, but it's important to find the right coach who understands your individual needs.
• Don't be swayed by trends or negative feedback. Stay true to yourself and focus on creating the music you love.

00:00: Introduction and Studio Setup
06:09: Balancing Work and Family Life
10:00: Signing with 4 a.m. and Career Growth
11:02: Getting Out of Your Market
14:54: Patience and Realistic Expectations
18:21: Managing Artists' Expectations
21:04: Cream's Journey and the Importance of Persistence
23:56: Finding Unique Ways to Stand Out
26:00: Different Paths to Success
29:11: Building Relationships and Networking
31:22: Incorporating Live Elements into Performances
34:31: The Future of EDM and Live Performances
36:16: The Myth of Quick Success
38:54: The Importance of Building a Solid Foundation
42:26: Coaching and Mentorship
46:35: Unlocking Your Full Potential
49:02: Hard Work Beats Talent
53:14: The Value of Having a Mentor
57:26: Being Yourself in a Trend-Driven Industry
01:00:01: The Rise of SoundCloud
01:02:08: Creating Opportunities for DJs

Chapters

• 0:00 Introduction and Studio Setup
• 6:09 Balancing Work and Family Life
• 10:00 Signing with 4 a.m. and Career Growth
• 11:02 Getting Out of Your Market
• 14:54 Patience and Realistic Expectations
• 18:21 Managing Artists' Expectations
• 21:04 Cream's Journey and the Importance of Persistence
• 23:56 Finding Unique Ways to Stand Out
• 26:00 Different Paths to Success
• 29:11 Building Relationships and Networking
• 31:22 Incorporating Live Elements into Performances
• 34:31 The Future of EDM and Live Performances
• 36:16 The Myth of Quick Success
• 38:54 The Importance of Building a Solid Foundation
• 42:26 Coaching and Mentorship
• 46:35 Unlocking Your Full Potential
• 49:02 Hard Work Beats Talent
• 53:14 The Value of Having a Mentor
• 57:26 Being Yourself in a Trend-Driven Industry
• 1:01:00 The Rise of SoundCloud
• 1:02:08 Creating Opportunities for DJs

Transcript

0:01

All right, what's up guys? Welcome to the 159th episode of the Grow My DJ Business podcast brought to you by Digital Music Pool, the Grow My DJ Business Discord, and also today, Pyrrari Production Academy. We have a very special guest. Welcome, Pyrrari. Thank you guys, and I'm not doing the firehorns today because you are supposed to do them and you still don't have them. I'm very upset. We're living in the Stone Age out here, all Mikey? We're lucky we're getting a podcast out every week here. I'm telling you, I got the Get Down Christmas gift ready to go for the holiday party, because we're going to do a holiday party, I hope. I'm going to get you a stream deck. I'm going get you all set up. And then this way, when you're ready to rock in 2025, we got the Firehorns. Alright. And once I move in and set up the new studio, we can talk new gear. But until I move. Yeah. Well, like I said, studios always open for you guys here. I just got to get a second mic and then you guys could really be a full podcast studio, little conversation room I got over here. It could really be something. I haven't I know I just had, Chachi just came over actually recently. just had Zach Martino here. So, you know, it's, it's, I, I, I think I live for the impressions when they come in, cause I'm so proud that I built this studio, especially like from all the panels and the lighting. And I love when people come in they're just like, Whoa, like this is not like, it looks like a real studio, you know? So I can't wait to get your guys' reactions when, you make it out here. you like get more work done or you're more proactive because you have like a nice, well built out, fancy studio that you feel good in? You know, it's like, it was always hard for me to like work in my own house because it's just right here always, you know? And I think now, like, it makes me excited to come down here. Like, I'll sit, there's a couch behind me usually where my wife and I watch TV now because our baby sleeps upstairs and I'll like just take a glance at it and be like, wow, that's mine, you know? And then I'm really... filling up my racks with hardware now. I just got an SSL compressor. I have this cool little visualizer over here. So the lighting, the mood, like everything, like it makes it fun to come down here and it makes me feel creative. And that was the whole thing with, you know, my basement and the studio in this house was just to make it creative, make it a creative space. So when people come here, it's like you can forget about what's going on out here and just kind of create in here. I think the biggest thing for me now that I'm learning is, you know, I, haven't talked since I probably in about a year and I just became a new dad. And I think that the hardest thing for me now is separating family life with work life, right? Because I'm always here in this studio. So I'm always looking to be like, well, I'm bored. could work now. I could just, you know, go over here, but I have to separate that aspect from like, man, now it's time to, you know, spend with my family and I'm You know, still learning that as I'm going through this whole dad thing, but that's the biggest challenge for me now is that. It was something that we talked about a lot during COVID because everybody was doing this work from home thing. we I think we talked about it in one of the podcast episodes where it was like create space, create your workspace that is comfortable, that is going to energize you and keep you creative, especially in what we do. Because it's it's we pretty much everybody like, you know, everybody's pretty much producing from home, right? At this point, like not people aren't buying studio time. So it's like, we'll create these spaces to to stay creative and to stay on top of your game and stay motivated. I think that's the most important part. And then to your other point about keeping your family and work trying to separate that, I mean, that's just gonna come with time, right? Like it's such a hard thing to do when you do work from home to understand like where the line needs to be drawn, right? We talk about that like when Kareem and I try to vacation, it's like, well, where's the line? Like where am I vacationing and where am I working, you know? you're vacationing, what are you doing? Like, I mean, we just went out to Cleveland. We took our first family trip and it was for a wedding. was for my wife's best friend's weddings and they had gotten married. They were having a party and we couldn't go to the party in Dallas because, you know, my wife was, you know, just two months postpartum and the baby was too young to fly. So we actually went to the party in Cleveland, which was more of an intimate gathering. But, you know, we went and all that. My wife was the matron of honor and we're on vacation, right? Like first vacation with the baby and I have such a funny story because I, know, it's 5 a flight with the baby and this is my first time like packing the stroller and the car seat and everything into the plane and I looked up to my left and Clutch is on my flight and I'm like, what the hell are you doing here? He's like, what are you doing here? You know, and I'm like sweating at 5 a getting out of this flight, but. you know, the vacation became work because then I went out with Clutch to go see him play at John Boy. I also went to Forward with him for a drink to go see Bobby Boucher and all those guys. And I was out till like, you know, 1 30 in the morning. Granted, my wife and my baby couldn't go out, but you know, we're always working. We're always trying to see what's going on those other markets. And you know, I think that in that aspect, it's okay for me because I've been doing that since I've met my wife and all that. But Really the work -life balance at home is really where I'm trying to separate because before it was like, I'm just, you know, I'm always with my wife. We live together, you know, if she wants to watch a show by herself, that's fine. And now it's like, I end the studio. tell everybody at six o 'clock on the dot, I go upstairs and my favorite part of the day now is bath time. I love giving my daughter a bath. It's like the most joyful day. time of the day because it's just so wholesome. You you get to spend that one, two hours and she's down at 730 and then, you know, we can go do the rest of our stuff. But it's separating that you have to create those boundaries. And I think that's been pretty hard for me at the beginning, but starting to get it now. Yeah, you'll figure it out. I think that's good advice for anybody that even doesn't have a kid and is just trying to figure out a balance between their work and life. And even, you know, if it's family or girlfriend or whatever it is, kids, like having that time where you're like, all right, the workday is over for me. I'm shutting my computer down and like it's family time or it's going out to dinner time or friend time or whatever. like having that sort of hard cut off was was something that was really helpful for me when I was struggling with kind of just overwhelm and overwork. So I think that's good advice. Yeah, it's tough being a DJ dad out here, but it's the coolest thing ever. I love it. So it's been a minute since you've been on, right? Dad, life is a new thing. You bought a house, right? You bought a house, you built a studio, new thing. But you also signed to 4 a So congratulations. Tell us a little bit about that and, you know, what you got going on with 4 a Yeah, it's been, it's been really cool. know, obviously Madison and Chachi have been in contact with, with, and I've been in contact with them for probably about a year now. And, know, right before this kid came into my life, back in January, you know, we've always been trying to get lunch and this and have a meeting, but you know, it's impossible with our schedules and, know, Miami was coming up and I was just like, guys, I'm gonna be in Miami. Let's have a conversation before Miami and let's talk. And sure enough, we had a great conversation. And I think that one of the big things for me is that I was able to be in Miami while this was all transpiring because I was looking for just someone to take over my bookings because I just don't have the time to do them anymore. I wanted a team to work with so I could bounce ideas off because, you It was just me solo kind of and in Miami I was kind of able to be in my element and Gary knows this far too well of how you know good I am in Miami but you know we're walking around and I'm talking to this person I'm talking to that person and I think it was good for them to you know kind of see what I had going on and like wow this kid isn't just this New Jersey you know DJ he has some touch outside of this we're in Miami and everyone is like he knows who he is people know who he is and I think that really like opened a door for me as far as 4am to the point where like, okay, maybe he is ready for an agency. He is ready. And I loved what Madison was doing with me and Moretti specifically, as far as an artist thing. And Scott has his hand in every, you know, market that I've been wanting to play in. So I think besides that and the B -Gig partnership, it really, really made sense for me to sign with them and I think that they're really, really knowledgeable in some spaces that I really haven't paid attention to mostly because I've just been far too busy running my school, producing and doing all that. And I really feel grateful to be a part of a team because my old team was based in Miami. So I never felt really connected with them. And now, you know, they're right here in New York. So I played Azure. know, Madison was able to come out and support, which I thought was awesome. You know, we... Chachi and I, he came to the studio, we've had dinners, like it's just really great. And to have them be on the same page as me is just a blessing. So I'm, I'm super happy to be a part of the team. I'm on a roster full of super talented people. We just talked about Clutch. mean, one of the sickest DJs I know, Marty Rock, Rick, and everybody was like, you know, so welcoming and inviting Trey. and I just couldn't be more happy to be a part of something like that. So. Yeah, that's awesome. We love those guys and you know, they're good people and smart people and you know, just good people to have in this industry. So I'm happy for you. I mean, it's a good fit. It's great. excited to see where it goes. We got a lot of shows coming up in the fall. We're working with a bunch of new venues. So I'm excited to see what unfolds and transpires. Nice. So I want to talk a little bit about, you know, you said getting into certain markets and some traveling. I've been doing some more traveling lately. And I think one of the number one things that I hear, and I'm sure you hear from your students who are pursuing DJing is, how do I get out of my market? Right? How do I book gigs elsewhere? I'm tired of playing in my market or whatever. So Let's talk a little bit about how younger DJs and DJs who are on the come up can achieve that goal because I think most people have a similar goal, you know, they want to go play other places. I mean, you talk to any DJ, they're going to want to go play other places, right? But maybe I've mentioned this on a pod before, maybe I haven't, but what I tell all of my students is be a big fish in a small pond, right? Unfortunately for us here in New Jersey, I mean, look how many upcoming talent you guys have. You guys have so many young guys, just to name a few like Temos and Two -Face and, you know, all these guys that are really doing their thing and coming up. But the problem is, is that there's so many big fish already in this pond and now they're trying to become a big fish in a big pond. location is a big thing to do with a lot of like kind of what's happening here. And it's very hard to make it, you know, in a New York or New Jersey, because we're such a big pond, you know? But being that big fish in a small pond is really key. How do you get to be that big fish? We'll probably touch upon that next naturally, but you have to be the biggest in your market, I think, or monopolize your market in a way where like people are always thinking of you first and then they'll think of you in other markets. And I also think another huge thing that plays into this and especially with me now is relationships, right? So if you're new in your career, you're still making a lot of these relationships. talking to whoever you can just to get in with somewhere, right? And that's all great. And I would do that in the beginning and get into the biggest spots in your market. But you'll never know who you meet along the way, maybe in five years or 10 years, or maybe someone you met a year ago, 10 years forward, who will be able to do something for you, you know? And I think that that is something that's so overlooked. And that's something that takes time in a, I guess, time where everyone wants this quick success, right? So, For example, like someone like me, like one of my old, old tour managers, his name is Max. I was like taking him on tour in 2015 when I was doing like life and colors, Arizona. was just starting to get my little taste of touring with my old management. And you know, that was 2015. You think about that. That's nine years later. He became the general manager of, sky in salt Lake city, like two or three years ago. And now it's funny because now there's an opportunity to work. booking wise like that. So that relationship of me giving somebody a chance now blossomed into something that like where, wow, okay, if I'm still doing this and I'm still consistent, maybe I could go play that market now. And I think relationships has a whole lot to do with that. So I've been very big on holding my relationships and keeping them near and dear and close to me. And I think that's also what makes you a big fish is that those big players in the game will know who you are and make you part of being that big fish. They give you the food chain, right? So if the food chain is handed to you, you're only going to get bigger and bigger and bigger. So I think that's really important to understand as well. patience has become overlooked in our industry. And it's not highlighted enough and it's not taught, I think, enough or kind of preached enough to these younger DJs and younger artists. I had a couple conversations not too long ago, maybe about a month ago with two younger DJs. like, when did you start playing the better rooms in our market? I'm like, I don't know when I was 30. Like, you know, like it took a long time. Like it took a very, very long time, like for me to grow just as a DJ. and when, like, when I said that to a couple of these younger artists that were younger DJs, they were like, they were shocked that like I had been DJing for 13 years until I played in one of the bigger rooms in our, in our market. And it's like, you know, just having that patience and understanding that not everything's going to happen overnight. Now that, that is going to happen for some people. a thousand percent, or there will be some kind of overnight success where somebody's going like zero to a hundred within like a year's space. But that's just not the most common way that things happen. It's not, it's like that quote with the iceberg, right? It's like, you only see the tip of the iceberg, but then underneath the water, it's like triple the size and it's like years, patience, all the, you know, the whole thing. And yeah, have I seen little lucky success stories? Absolutely. I mean, that's so like one in a million though, you know, but for every like one lucky success story, there's also 10 hard working guys or girls that are like, you know, next in line. And it's just getting over that hump. And that hump may be, you know, really hard for some people, but once you get over it and you roll down that hill and you're on the other side, it's like, okay, this isn't so bad after all, but it's, putting in that time and that grind and, and, and all of those years into it. It doesn't just happen overnight like that. And I get students all the time too. Like, like, well, you know, at the end of the year, we do like a one year and five year goal thing. And I have guys telling me like in one year, they're like looking to play at a market. And I'm like, well, This should be in your five year goal plan, not your one year goal plan, depending on where they are, depending, you know, some guys are really close to that where it is, but most of them are nowhere near close to that. They haven't put out a record. haven't done really half of the work that, you know, any of us in this podcast have done. And they have to realize that's a five year goal. That's on your five year plan. Five years. I don't have five years. Well, then this isn't for you. You know, this, this game is all about the long ball. It's not about the short ball. It's the long ball because If you stay persistent at this and you keep going, going, going, something's going to happen for you. But you have to stay persistent and consistent about this stuff. You can't do, you know, hop the trends and do all this other stuff. You have to stay persistent. Do you have any tricks of managing artists' expectations? I really wouldn't call them tricks. I mean, if you ask me, I get a lot of guys that just ask me for advice and I just keep it real with them. Like I tell them, like, no, you know, that's not happening. Like, it's just not because I think for me, I took the longest on how to do this out of anybody that I know. I have guys and friends that I came up with who are already playing Main stage doing this, doing that, like all these things. And I thought that there was always this one path to success. Like, if I follow in this path, it's going to happen. Why did that? And nothing happened. Then I tried something else and nothing happened. So I think I took the longest out of anybody that did that. But along the way, I think that's really where the gold is for me because I also have so much more experience that like when that opportunity comes, I'll be ready for it. You know? And I think. A lot of the times you see these DJs who maybe come up and get this success, overnight success, whatever you want to call it, but they weren't ready for it. And because they weren't ready for it, it's like a shaky glass where, okay, one wrong move could just destroy their entire career. Then they can't pick it back up. Where for me, I've had all this long successor ready. So when that opportunity comes, I'm ready for it. I can do it the proper way. And I have all this information, but as far as like the tricks, I, I think the trick is just being real, just being realistic about what's happening in this industry and what your expectations are. Like if you tell me you want to play Ultra in a year, but you're complaining about not doing TikToks or real, well then move aside, brother, because there are 15 ,000 other DJs that are doing that, that are willing to do that work and sweep it up, you know? So it's just realizing what your expectations are and being realistic about them. And I think that's where I come in is I'm able to You know, levelhead some people because, you know, everyone has these big goals and dreams and all this stuff, but levelheading a lot of these guys, I think is really where, you know, I step in and I need it myself too. And I think that's kind of where, you know, Chachi and Madison kind of come into play in my career now is they can kind of levelhead me and be like, okay, maybe this isn't right, but do this, this and this, and then maybe you can get there. So having someone in your corner like that's important. Yeah, you gotta have realistic goals. I had a conversation with one of our DJs last night and we were talking about sort of just this thing, like how many gigs should I look to be booking next year out of state and like, he was like, well, what I think every every other month or every month, I'm like, well, why don't we start with once a quarter and like, let's hit that goal first, you know, let's not put the all this pressure on yourself that you have to be out of state every single month. And it's like, let's get once a quarter first. And then if you get every other month, you exceeded that goal, you know, and you're gonna feel way better about exceeding that goal than... not hitting it, you know? So I think that's that. And then the other thing is everybody's path is different. There's not one way to get to the end goal. And everybody's end goal could be different, but your path is different than my path, and it's different than Gary's path, that's different from every other DJ on our roster. And that's okay. And I think that's what's the beauty of being in this world is there's a lot of ways to become successful, right? Like, this get down thing was not something me and Gary ever thought we were going to start. I'm sure Ferrari Production Academy, you never thought it was going to get to the level that it got to. But it's like these these side quests that you take on that actually really do help you get to the end goal because it helps create a name for you in the market and in the industry. It helps show your expertise in what you're doing. And all of those things are important in getting you to where you want to go. So Guys, don't get frustrated because if you're watching one of your friends do something you want to do or move faster than you, it's okay. Like, your career can be a very long career. It doesn't have to happen in one or two years. It can happen in 10 years and that's okay. I mean, cream, could cream, you could speak to this better than anybody, especially right now where like, you know, you're, you're traveling, your travel gig started off at a, at a slow pace. And now it's like, you're traveling every weekend or every other weekend at the, at the very least, like, and it took a long time to get that snowball rolling down the hill. like right now you have some very, very good momentum. So I think you could probably speak to the patient side of this, probably the best of anybody I know. Yeah, I think I was lucky in the fact that I blew up pretty quick when I first started. But then, like, I sort of hit a roadblock where I was sort of stuck in certain venues and I was content doing certain things like the DJs of the world that we talk about all the time and some of the other better venues in Jersey. And I sort of lost sight of the big goal, right? Maybe I needed to go do some more networking. I needed to take a night off to go meet or link with certain people in bigger venues. instead of just being content being one of the bigger fish in this local pond kind of thing, you know what I mean? So, yes, in a long way around this, my patience was super important. I also sort of got away from doing some of the things I needed to do to continue to grow. But it's okay, right? Like I'm now at a point where yes, the snowball is rolling down the hill and it's great and I'm achieving some of the things that I want to achieve, but... I've been doing this since 2011 or whatever. Like it's not been a quick journey, you know? always going to take time. mean, any one of these guys that you think blew up, like a John Summit or, you know, a James Hype, like you could really look at James Hype, for example, and I love bringing him up to my students because he's a great example of kind of what we all strive to be. Right. And I did this too. mean, I've always had my eye on the big picture, which was me was a big room EDM DJ. Like that's always been my big thing. You know, As I was producing music as much as I possibly could, I also needed to make money, right? And that's where I fell into the open format space with the bar gigs and all these gigs. And did I feel content in there for a while? Yes, because I did lose sight of the picture. And it's very easy to lose sight of the picture because it's easy. You're fun. You're drinking with your friends every weekend. You're making money like you can't believe. you're playing whatever you want. It's all good. But I knew like Monday through Thursday, I had to produce music or even Friday. I did produce music and I did. And I use that as a way to pay my bills. I'd only have to work two days during the week and it was at night. And then during the week I could make my music. Okay, great. I lost sight of that for a while. And then after COVID like hit, that was the biggest thing for me. Like that opened my eyes. I was like, okay, this isn't sustainable because you could lose everything like that, like right off the bat. So what did I have to do to adjust? Why start the priority production academy? I get travel gigs from the Perari production academy. People are like, well, how the hell do you tour off Perari production academy? Very simple. I make relationships with people through work I do in the Perari production academy. And I am able to get gigs from that, whether I make an artist radio show that artist owns a club, boom, they'll book me at that club, right? whatever it may be. So that is one way I'm able to asset or use one of my skills as an asset to obtain, you know, maybe another gig outside of my market. But the biggest thing for me, we go back to James hype was he had a really dope interview with DJ spider. And I always go back and I watched this interview, but he talks about his story, about how he was doing, what we were doing, making money, playing open format rooms, doing all this stuff until he realized like, you know, if you want to be, he said, if I want to be about house music, I need to stop, you know, potentially playing the gigs that don't matter to me anymore. Yes. I'm going to lose a little bit of money in my pocket, but when I was ready to take that next step. I'm not telling you to do that today. When you're ready to take that next step, stop that stuff, right? And then only play the gigs that matter to you, you know, and make the music, play the gigs that coincide with that music. And you're going to see success really, really fast. And I think your podcast about the open format room dying is like segueing into this, like completely right. Because, you know, he, he mentions a quote from Eminem and it's a If you stand for everything, then you don't stand for nothing or something like that. Right. And it's true. Like if, if you want to be about house music, but you're playing bad bunny rooms every night, well, who's going to want to pay to go buy a ticket to go see you. So I think that's another way that you could really, you know, leverage yourself in these markets is just be about one thing. And you could take a look at guys like Rick wonder who made an adjustment. Right. And you guys talked about Rick on the podcast last night where Rick is an incredible open format DJ, but right now he wants to buckle down and focus on his career. So he goes into the house music space. Awesome. If you guys can take that into account, I think you're going to go far. It's funny, Mikey, like you gave up venues and you gave up booking power and you gave up playing certain places. And I feel like at that point, your career went bigger, faster, you know? it was because it was ready for that. I was ready for that. I had a couple big records on revealed, mixed -mashed relationships, it laid back, Luke, all that stuff. I had a record coming out on Smash the House, Demetri Vegas, and Mike's label. I was ready. I knew I was ready, and it was like, okay, it's time to let go. I'm trying to think of the movie where they were like, let go, and then they let go, and everything good happens. Yeah Like that's what it was for me. It was like this was the time to let go. And I needed that like advice from my wife and people in my circle to be like, all right dude, it's time, do it. And you know, everything started falling into place after that. And now, you know, it's like, yeah, I only DJ maybe twice, three times a month. They're not really locally anymore. They're in other markets or the biggest markets here locally. And I make my money and it's all good and grand. you know, I, I'm not known as that open format guy anymore. I'm known as like, you know, this is a DJ, this is an artist. He does this, this, and this. And I, I, that's always been my goal. That's always been my thing for me. what we were saying before, like you need those people in your circle, you're right, to tell you, all right, it's time to move on. Like, Cream and I would always talk like, what is Mikey doing still over at this one bar that you were booking DJs at? We're like, he's got, he's got to stop. Like there's no, there's really no reason for him to be involved over there. It just doesn't fit with what he's doing. Right? And then like, with that because that opened my eyes to this is what could be, and you got to do something different. You know, and I kind of, I mean, everybody reevaluated their career in that, that time where it was like, this isn't sustainable because these owners can drop you like a fly, you know, and they didn't hire us back, I think for, what was it, like a year? So for a year we were out of work. And then when we did get back to work, the rate was cut in half and it's like, dude, No, like I'm not this, you know, push away DJ, you got the wrong guy here, you know? And that's when I had to separate myself from that whole thing. Crazy times. time. I will say this though, like each of us and a lot of the other DJs who are traveling, who are playing some of the best places, they all have something else, right? That helped grow their relationships and their network. You have the academy, we have the podcast and get down. Chachi has his agency. Rick has his graphic design business. Like, Kaysers has his radio show and he brings people on. So like, If you guys are sitting at home and saying, I want to go and travel and I want to, I'm playing some of my best places. Well, maybe you're, need to do something else that could connect you to some DJs and artists outside of your own market or outside of your own region. Like the cream edit packs. I've connected with some of my favorite art, like remixes and editors across the country. And like, it's opened some doors for me just from doing the edit packs kind of thing. Remixes, if you're making music, hey, find an artist that's making a similar style sound that's in another market or maybe has a little bigger audience than you. And like, that's a way to grow. So we talked about the relationships and none of us would be where we are if we were just DJs or just producers in our market. Yeah, those other skills you just mentioned create like a monopoly for, or not a monopoly, but they create like another skill for you to have that eventually will put you above everybody else. Because I always bring this example to a lot of the guys when they ask me about producing, right? They're like, I want to get into producing and you know, blah, blah, blah. Okay. That's all cool. I say, take this room that we're in right now. Let's call it a get down, meet up, or, know, the wicked wolf event, right? I say, if I got on the mic right now and I said to everybody, all right, guys, raise your hand if you make mashups and edits, the entire room would go like this, right? Okay. Now everybody raise your hand if you, if you produce music. Now only a fourth of the hands will go up. All right, everybody now raise your hands. you play the keytar while you DJ, one hand goes up, right? Now. I'm more interested as me as a coach and just someone just interested in music to talk to that one guy that's what you what you play the keytar while you DJ I want to talk to you and learn more about you I Already know about the mashups and the edits and stuff like that All these things that we have are things that can't be duplicated really by other DJs you know whether you're the top editor in your market or you know the the guy that plays the keytar or the guy that does the producing stuff, right? Like if you have these skills, you're going to stand out more and people are going to think about you more as somebody that has something else to offer because anybody can now go up there, DJ, especially with the AI stuff, even make edits and mashups now. Like anybody can do it. So if you're not doing something different, then you can't expect to do something different, if that makes sense. Yeah, you have to find a way to stand out from the crowd. And you can do that many ways, right? There's a lot of ways you can do it. The keytar is the most unique way, probably. mean, that took such a long... And Joyfire is one of my students. He's been one of my longest students. It took such a long time for us to figure that out. Like, dude, I had no idea he even played the keytar for like two years. And then he's like, well, I played the keytar. What? You should be ripping that during your sets, you know? Now granted, the rooms we have here don't necessarily, you know, work. You can't do that. really in a bar. mean, you could, but like, it's not going to work in that. Like he needs to get on those stages. Like he did the Paramount Theater, I think. And he was doing it and it looked like a freaking rock show, you know, like, and he's doing solos. He's doing solos in EDM. Like what? Like the only person I just recently heard do that was Mao P and he had Mike Dean on that On Again song do a solo at the end, which I thought was so sick. Like he just rips the synths, but Besides him and Mal P, I don't know anybody that does solos in EDM. So that's something that immediately nobody else can replicate. At least in my opinion. Nobody in the room out of a hundred people, only one person can do that. And that's gonna, you know, maybe not right now. Maybe now is not the time for that. But I see maybe electronic music going into a space when it becomes over saturated where there's gonna become like electronic musicians again, like your pendulums and like... these guys who go on stage and actually, know, Rufus DeSole, I think, does that, like that put on shows. And yeah, maybe now is not right the time for him. But if he's persistent with that and he stays with that, I think that there's an opportunity for that market in five or 10 years. But he's got to be persistent about it, you know? And I think what he's doing is completely, completely unreplicatable. It is such a unique space. Even the live artists that the guys that got away from DJing and then they just do live sets, that's kind of very niche. we haven't really ever seen that in EDM, have we? You've seen it in techno, you've seen it in house. Yeah. doing live sets. like, you know, that was refreshing people. Like, and then it's always like, you know, there was this whole debate about Fred again, just recently, because he made one of his recent records with four splice loops. was like, boom, boom, boom, boom record. It's kind of like that, Sabrina carpenter record espresso, right? Where like Oliver great producer, sample pack maker espresso is literally a guitar loop and an Oliver drum loop. I think the the producer put those loops together and then maybe played guitar over it, entire record was made and Oliver gets like no credit. But in my opinion, he should be getting a piece of that record because he did, you know, the actual production work. when it comes to going back, sorry, I got a little bit off topic, but going back to Fred again, you know, people don't care about that splice putting together of this stuff. They care about the live aspect because... That's something that nobody's doing to see him. mean, besides A -Rab music, who is going out there on an MPC pad drumming and doing all the stuff, right? Like that's what people are paying to see. They're not, you know, paying to see him in the studio putting together splice loops. So the live aspect of it is really important, I think. And it's going to be the future, I think, in a little bit. Well, we've gotten to a point where like talent hasn't mattered as much right like the TikTok era and the social media era. So now it's nice to see some of these other artists that do have James Hype and and Fred again and some of the other artists that are bringing this live musical aspect. It's like no hey guys, like you still need a lot of talent to be super successful in this world and and hopefully we're moving back in that direction. Yeah, I would love to see it move back in that direction. I think right now it's been a little, you know, weird because, you know, the economy is a little bit weird. People aren't going out as much and bookers just are booking people that can sell tickets and want to fill the room. And I think that directly affects us in a way. And, you know, they're booking these, you know, I guess social media influencers that, you know, have a lot of followers or whatever it is. Maybe they want to get into DJing. I don't care about it. in that aspect, like, but at the same time, it's like, well, yeah, those guys are gonna, you know, fill the room and pack the room, even if it's only for a short term success or what it is. It's a short -term outlook. It's not a long -term what's best for all industry type things. you know, there's ebbs and flows. So you can't, you could sit there and complain and be like, this is happening or, you know, sit back, work on your other skills that you have and, you know, build that up so that you can get back up there and get back up to the thought process or the booker's thinker or thinking process and get back into those rooms. Part of this, younger DJs are seeing the success of some of these people and how fast they move, how quickly they can come up and they start making artists 10 ,000, 15 ,000, 20 ,000 per show. And I think that gives some of the younger DJs, not just our DJs in our market, but all over the place, this idea that it's, this is how it works. You can move quick, right? But it's not, it's a false reality and... you still need to do all the different things we just talked about as far as the networking and the music and growing your own skills to really be successful because one in whatever a million or whatever the number is are going to have this quick success. And many times all the people that do have quick success, they have a fan base that's built in already and they're just moving into the DJ space because it's the cool thing to do or it's a side project that they want to work on. You got a million followers? If you got a million followers, yeah, maybe you can make the quick But I'm guessing nobody listening to this show has a million followers on social media sure. And are they really even really listening to the artists? They're going to see that artist or, you know, somebody like that. Cause I, I look at it back at like, you know, kind of the early days of Pauly D. mean, Pauly D has been DJing forever. gets on a TV show. He's going to obviously exploit his DJing thing. He's not a new DJ that, you know, I would say just started. He's been DJing forever. Exactly. And, and you know, at the beginning he was getting booked based on the TV show. Let's call it a spade to spade. I mean, it is what it is, but The amount of years that have went by and Pauly D is still one of the top selling out DJs still is unbelievable. that like there is that, I guess, way where you could have that longevity or whatever, but it's because he's been doing it already for so long. He used his platform to enhance his other business and he's still selling out markets everywhere. think somebody told me that like, John Schwartz was like, I'll always book two DJs at Tao Group. He was like Tiesto and Paulie D cause he sells out the rooms like crazy, you know, both of them, but it's insane. Good for him. I don't know. I think the takeaway here in this conversation for me with going back to, know, how do young DJs get out of the market kind of thing? You still have to put in the work, right? You still have to have the resume. And you can move quickly. Sure. But until people are knocking on your door, like, Kareem, we have to have you in our venue. And Kareem, we need you in this venue. you like unless people are doing that, you're definitely not ready. to even consider going out of market. You have to be the top one, two, three guy in the market where venues will pay you whatever you want. They'll bend the rules to get you in the room. They don't care if you're playing at the competition because they want you here. Until that's happening, I don't think you can even consider trying to tackle a new market. And our market's tough. There aren't a ton of rooms, right? We just talked about If you want to make housemates, if you want to play housemates, you got to play those rooms. Well, what rooms are here? There are very, very few here that do that. And you guys made a great point last week on the pod where, you know, these rooms are now shifting towards like the genre specific stuff, right? Like I know you guys started a, was it the Latin night at Birch or bad bunny night or whatever it is. And that's been crushing, right? Like crushing. So, so, you know, it's weird too, because I was listening to that pod last week and I, come from a time where we had teen nights and Like, let's take Club Abyss, for example, right? So upstairs, the main floor, we used to call it, was house EDM. What was it EDM back then? big, big Jersey spot, doesn't exist anymore, like central South Jersey area. like yesterday, which is like so sad to see, like, you know, that main legendary room, mean, the history in that room is, is, is insane, but it was that room and Deco across the street, same owners by the way, had a similar format, but that room was house dance, you know, whatever. Then you had the basement, the basement room, and that was the hip hop. Jersey club everything so we had separate rooms for these genres and it's funny that like we talked about things coming in cycles That's starting to come back where either a certain room is going to be based on that genre and it's not you know open format I'm gonna play 18 genres in one night. No you're coming for this night This is what the music format is so that people are invested more in the party. You know, I think that's Gonna come back couldn't believe in that more, right? Like I'm so behind that idea right now for success in our industry. I'm just like all in. for us too. mean, there's going to be less play bad bunny or play, you know, whatever signs. mean, it'll probably always still happen, but at least you could be like, nah, this is a house music party, you know, or like Charlie. I know that's what I hear. I just haven't been out on the road to experience it. I don't mind that though. I, you know, I, there's a couple of my students, shout out to olive oil. just made a really dope, you know, guests remix. so there are some songs where I'm like, yeah, you should probably be playing that. good. It's good. It's like good house housey electro vibes. It's like UK garage stuff. Like it's really cool some of the records, so I like it. I was, I called it electro pop. That was like my, that was what I called her genre. Yeah. Man, all right, so We talked a lot about you know the travel stuff and and whatever but You coach a lot of DJs and you talked to a lot of DJs and producers. Do you think? Do you think someone just innately has the ability to be really successful and to grow quickly or do you think that? DJs and producers can be coached up to become this thing like do you just have the juice or you don't? Can you learn how to have the juice? what's, what do you think? rare. Some guys have the juice, some guys don't have the juice. But can you be coached up to have the juice? Absolutely. I'm a guy where you could take me as an example. I don't have any musical talents, at least in my opinion, right? Like I just like, I have anybody in my family. And you got to think about how big my family is. My dad is one of 11 people. We have one other musician in the family and that's my aunt. who's my dad's sister's husband, right? Like he's the only other musician. Other than that, there's no musicians in my family, nothing. So I'm not born at a musical genius. I just believe in hard work, right? They always say, what's that phrase? Talent, hard work always beats talent. Exactly, like all I could do is just be really good at what I can do. And a coach or a mentor will help you. get to the best of your ability. mean, think about like your baseball coaches, right? Or your football coaches. They helped many people unlock their highest potential. You take a look at, I grew up in a town next to Kyrie Irving, right? And Kyrie Irving was, you know, playing football with us on our front lawn. I had a friend that used to take him on our front lawn and stuff. He was a decent athlete, don't get me wrong, but he wasn't anything special. But it wasn't until he had that, I think his one coach who brought out that potential in him. him to go on and become this absolute superstar basketball player. So I think right now when we're, you know, we're coaching a lot of these guys, like we didn't get to have that. And I think that was the biggest thing. Like, at least for me, I didn't have somebody in my corner telling me do this, or you should do it like this, or somebody with experience really. Like I had my mentors, sure, but like they weren't so accessible as we are. Exactly. And, and passionate about caring for like the absolute best because if those guys do good, well, that's a success that you could celebrate because you help them get to where they are. Right. Like we could, we always bring him back up, but you take a look at like in Angelo, the kid, right. Like someone who had the juice. I saw that he had the juice. I remember turning to you and saying, this kid's got the juice, but now let's bring out the full potential in this guy by getting him in the studio and making his own music. And then, you know, the rest is kind of history from him. He's. Now good to go off into the world. He's got the skills that he needs. So yeah, you can have the juice, but if you don't have it, don't get discouraged. You could always look up to a mentor to help bring out that potential in you. And I think that's like such a big thing in today's world where there's so many coaches and this and that find the right coach, find someone that truly cares and believes in you and work with them to get that juice out and, and, and be the top of your game. Yeah. Gary, you're a coach and teacher. What are your thoughts on this? So many, I mean, I've dealt with so many different personalities. We've talked about this and it all becomes very individual, right? And you also need coaches that understand who you are as a, know, whether it be a player or a producer or even a DJ. And you have to understand how to bring, you have to find a coach that can bring out the best in what you do personally. I, you know, you can match up with wrong mentors and wrong coaches that that that can happen for sure. And you just have to understand, you know, what are your strengths and what are your weaknesses and who who can bring the the the best out of your weaknesses? I think that's that's a big portion of being a good teacher, being a good coach as well. I think that's something that we I don't know. I think I can lose sight of sometimes with some of the guys you expect a lot out of them. because you expect them to grow at such a pace or understand where you're coming from. And it's like, well, you sometimes have to step back and check yourself as a coach and a mentor and understand what these people need from you. And that it's not an overarching one thing, right? You have to be able to adapt and understand what people need from you. And that's what makes you kind of a good coach. It's very individualized. thing that you said. Like I always bring up the quote, you could bring a horse to water, but you can't make a drink, you know? So like I'm giving you this plate of food right here, eat the plate. Some people don't want to eat that plate, right? And that's not a reflection of you or I as a teacher. It's just individualized in the sense that this is maybe not what the student needs. Maybe they don't like that plate of food. Maybe they don't want water. Maybe they want a glass of Gatorade. I don't know. And you have to kind of recognize that and see what their goals are what they need. But that's why we always have these conversations about, well, what are your goals are? Maybe I can't help you achieve your goals. Like if you want to be the biggest dubstep producer, like, yeah, I can make dubstep, but I'm not knowledgeable in that space to make you that way. So maybe go see another coach and you know, that happens for sure. But yeah, it's very individualized. Everyone's different. And, you know, like we said before, there's not one path to do it. So. there's also not one way to get the point across to the students too. I think for us, like just because we want to give feedback or try to help someone in a certain way doesn't necessarily mean they're apt to take feedback in that way, you know, it's not only understanding where the student is, as far as level and like where they're trying to go, but it's also how, how to get that information across. Sometimes you got to be hard on people, right? But people might not react to that. So maybe sometimes you have to be a little a little more, you know, a little safer, little little quieter on how you give negative feedback, let's say, or you give some harsh critique on a song or whatever. sure. And I'm my own worst enemy for that, because I'm always giving it hard and real. But, you know, I think about more so now, well, this isn't about me. It's about them and how they need to receive it, you know? And I'm my own worst critic because I wish I had somebody that did that for me. I really wish, and I still do. Like, I love the fact now that I do have people in my corner be like, hey, man, this sucks, you know? And you should, or this is wrong and you should be doing it this way. And... You could take it on the chin and keep doing it the way you want to do it. If you truly believe in it, then keep doing it the way you want to do it. But if someone with more experience is like, hey, this stinks, you should do it like this. Okay. Take it with a grain of salt and incorporate that maybe a little bit or all of it, but it's going to help you in some way. And you need to have somebody that can give it to you like that, I think, for sure. don't think, go ahead, Gary, sorry. all good. I learned this at a very young age of 21 years old coaching high school basketball and I had my best player on my, like I was pretty like a hard ass coach. I'd yell a lot and you know, was just like a little tough. And then my best player on my team, every time I'd yell at him, he'd shut down. And like I had got, you know, and I went to my dad, lifelong coach, and we talked about it and he's like, well, maybe try a different approach with him. Maybe. And like then it looked like he was getting a special treatment. He's the best kid in team. wouldn't yell at him as much, but the kid wouldn't shut down. You want to be, you know, having an excellent year after realizing that, that very thing that we talked about, that things need to be individualized. Things need to be, not everybody reacts the same to a harsh criticism saying, you know, Hey, that track sucks. Go back to the, you know, go back, go back to the drawing board and come back with something completely different. Like maybe that person needs a little more coddling, you know? And I know that's kind of a negative. word to use, but that's realistic. Like some people need that. and I think that especially people that are older in our age that went through this very harsh, know, our coaches and teachers growing up were definitely a lot more harsh than the teachers and the coaches of today for sure. And you have to be real. basketballs thrown at us like, you know, Mike Rice did when I was in college. mean. many things that have happened in my sport career that like if they happen today, people would be arrested and canceled and fucking yo. Yeah, mean, thankfully for me, my father was always my coach and he was always like the coach that everybody loved because he didn't yell. And I guess I kind of take that with a good sense of like, that's a little bit like me. I don't yell, but also my dad was real. He says it to me all the time, like, you're not doing this right. There are times where I take after my dad and my wife hates it because my dad would sit with other baseball players if they weren't excelling in something. Well, he would take time to sit with them after practice and keep working on that skill. That's like what I do in the lessons. Like if you're not getting it, I'm going to take that extra 15, 20, 30 minutes at the end with that for no charge to make sure that you get it and that you understand it. Because it's important to me that you understand it. It's not just I'm doing this. because, it's this, it's a money grab, blah, blah, blah. No, I'm passionate about this and I want you to understand it so that you can excel. Yeah, like we feel good when you guys or our students or our team succeeds. Like that's the best feeling, you know? It's amazing. our businesses run on your guys' success. Everybody wins. That's why this is such a great thing that we do here as like coaches is because you win, we win, everybody's happy, everybody wins. When you're down, we're down and we need to figure out a solution to get you back up. you know, I take on a lot of my students' emotions. If my students having like a bad time, well, I take that on me. That's like a personal reflection of me because I'm not doing enough to get his or him or her to, you know, where they need to be. So. Yeah, if you're listening to this, like, most markets don't have a Ferrari Production Academy and a get down DJ group in the same place, if anything at all. So it's so important to have that one person that you can go and talk to and bounce ideas off and have a mentor, someone that's in the places that you want to play, or making the music that you want to play. And, like, go find one of those people. It's easy, like, just hit them up, go go support them at their shows. Bring him a coffee, buy him a drink. Like just get to know those people on a personal level. And once you do that, you can ask a question, hey, can I pick your brain for 10 minutes after your show? I take you to lunch? Can I buy you coffee? And like that stuff is so, so valuable. When you have that person and you have someone that you could bounce ideas off and say, hey, what do you think about this? Hey, is this a good idea? Hey, should I take this booking? You're gonna grow faster. I guarantee you. I guarantee you. So if you don't have one of those people, go find one. Super important. Like, I still need that person, you know? I still need somebody to bounce ideas off. Yeah, we all do. And especially with music, music is such a personal thing when you're creating music that everything you make is like, this is great. This is great. Whatever. This could be no harm. And you need that person to check you and be like, this is good. It can be great by doing this, this, and this. And this is something that if you guys haven't, if you guys, you know, haven't heard this podcast yet. There's a great one with Afrojack for all the music producers out there with these guys, excellent sound. And he talks about a lot like, yeah, you know, this is good, but it could be great, you know, and it's not that like we're trying to nitpick these things about your production, it could just be better. And you need someone to tell you that, you know, that gives you realistic feedback. And keep those people hug them. Keep them in your circle. Like you need people like that to be real and tell you that this isn't good, change it and make it better. Yeah, be open to take that feedback, guys. Don't shut down. Yeah. Don't take it as an offense either. There's so many times where I give feedback and I'm like, yep, this isn't good. And people get offended and it's like, well, that's what music is. If you get offended by someone not liking someone or something, you're in the wrong business, right? Like anything that relates to an art form is opinionated because I say it's not good. Doesn't mean there's someone out there that loves it and it could be their favorite song in the world. So that's my opinion. Take it with a grain of salt. And just keep moving on. Don't get disheartened. Don't get all, know, in your feelings and in your bag and all that stuff. Like you just, you take it and you move on. I think the other thing too is just because someone's giving you feedback doesn't mean you have to take it. If you think your track is amazing or your project that you're working on is amazing and you believe in it, go with it. Like don't let, yeah, don't let someone else tell you that just because their ear says one thing that like your ear is wrong. So I'll, I'll fight you on that one too. Like, but if you believe in it you think it's good, go with it. You know, don't let someone on the internet. who shot you a DM like, yo, this track sucks. Like, don't let that person steer you off of your path either. mean, listen, you're in the wrong business if you're going to take comments and criticism like that to heart, you know? Like, it was the same thing with like fashion, right? Like, every time I go out and I wear like right now, like not right now, but baggy pants have been in. And you know, I'm like this 5 '8 guy, whatever, like I'm not, you know, 160 pounds, athletic build. And I'm walking out in these like to these events and these... baggy ass pants and like the shirt and I love it. think I'm fucking fly. I'm wearing like, you know, the stuff and the first thing somebody goes like with skinny jeans on still it's like skinny jeans and they're coming up to me like dude those pants. What are you doing, man? Those those are okay. You just wait now, you know, the trend now is everybody's wearing the baggy pants and like it's like well I've been on that. I'm on the next thing now. I'm on the next wave, you know, so You got your A6 or what? you on the wave? are rocking, the New Balance is rocking. in the dad comfort era now. These trends, it's like with music, they come and they go. What's the next thing? I don't know. But right now, it's the baggy pants and the A6. That's what it is. I don't let anybody tell me what I should or shouldn't wear. When I was growing up, being a guido wasn't cool before Jersey Shore was on. You know, little Italian Mikey was going to middle school and Ed Hardy and true religion jeans and, and white air forces and, and, and, our money exchange. And I would have kids be like, you know, that's whack. That's whack. You know I'm saying? Yeah. You're a Guido. then guess what happened? Jersey Shore came out and these same kids were now going to the clubs. They were wearing Ed Hardy and now it's cool. So don't follow that stuff. Be you. think being unique is the one thing that nobody can take away from you. So. Be yourself, be unique. And if there's going to be people out there that gravitate to you for that, don't follow those trends. Just because someone's doing something doesn't necessarily mean that you have to do it. Just do what you want to do. You brought up like musical trends. Where is the Perari brand at right now? I know you released some music recently. I know you have a couple tracks. What do you got cooking? I'm having a lot of fun, like just exploring other genres. think like for me, I had to put a big pause on the music because. Which is unfortunate, but you know, life happens as a baby, there's a house. There's just like a lot of the pro production academy and working on a lot of other people's music. so I put my career in the back burner and now we're, you know, kind of reviving that with like a new sound. And I've been really loving like the. melodic techno type of stuff, you know, like, or really combining trance influences with techno, because I think now the big room EDM sound has kind of transformed into like a more techno sound. And I'm loving taking like trance and, and almost stuff that I kind of grew up on, like early 2000s, like late 90s stuff, influencing that back into it. Like, it's funny, I'm going back into like, some of the first sounds that like Nexus VST came out with, like when they first came out, because those sounds are back in again, you know? So I'm liking reviving some of my favorite records now with that new modern twist. And I'm really loving the Melodic Techno stuff because there's emotion to it. There's like chords, there's like cool arpeggios and melodic stuff going on. So I'm really having fun with that. Dude, to be completely honest, I don't give a fuck about a label or what's happening. I'm just having fun making music, putting it out, and then that's it. I'm not looking to sign to this label or do this. I don't really give a shit about that stuff right now. I'm just having fun. I don't care about the stream numbers or anything. Just put it out. I love to hear that because I feel like that's when artists make their best music when they're just making this stuff that they want to make. And I, you know, I told when I played as her, I grabbed your sun and moon remix is like, just it just fit like I love that vocal. And like, it was just cool to I was cool to play that song because I connect I connected to it from when I first started DJing. And like, it was one of your tracks, which I you know, I love supporting our guys. So I thought that was it was a dope remix. I just really liked it. that record for my show at his or day party. Cause I was like thinking about all of the sunset or feel good tracks that I could play. And like, was thinking of like strobe and like that and like all of these. I incorporated those all into my set for that show. And that was like one of the highlights of the summer for me really was doing that because I had this like different approach. Like I wasn't having to look for records that I necessarily had to play because they were popular. I just played. what I wanted to play. And I think that was like the biggest thing. And it was about getting the crowd to vibe with what you were wanting to play. they were, that crowd there is so receptive of like all that stuff. And it was just amazing. I'm sure you probably had the same experience. Yeah, like you strobe, I made a strobe at it. That was one of the first tracks I played. Yeah, I actually revived an old one from back in the day. Like I took the cream remix of strobe and I put Lincoln Park shadow of the day acapella over it with the new cream remix because it says the sun will set for you. And I played that at sunset and the drone was going and it was like top five moment of the set. Like it was amazing. We all, I think we all need to find the parties where we can play what we want, right? We don't have a whole lot of those here. And I'm sort of making it my mission after playing that party to create something that allows DJs to play wherever the fuck they want here. I mean Gary is fortunate because he gets the music that he likes. You know, he gets to play in those spaces, you know, like the disco house and like, you know, the drag stuff. He's fortunate because he does have the rooms. like, you those rooms for us here really don't exist. It's very heavily open format based because, you know, one group wants hip hop, one group wants this, then you switch it, you make that group, you know, upset. So it's good when people are going to the party because... They're going for the party. They're not going for, you know, I'm just going out to have a good time and I want to listen to X, Y, and Z. Cool. Do we want to, is this a wrap point here? Yeah, think we're a little over an hour in here, just to give you guys a little timestamp. Ferrari's got things to do. Production Academy stuff to do here. Time to attend business, my friends. We could talk all day, but business duty calls. this is like, this is therapy for us as much, know, hopefully you guys take something away from our conversations with Parari. But you know, I take something away from every one of these conversations we have. And that's why I like having him on the show because... Well, you think about these things and you don't get to like, you know, talk about it as much. And I think when you talk about it, you start to realize, this is actually going on or let me do this or let me, it's a new way to think about it. You know, like I'm, I love talking about this and I tend to ramble on a lot too, because I, I'm passionate about it. This is what my passion is, you know, and it's so important to have that passion about this industry or anything that you do, because you love it and you want the best for it. So, you know, everyone, think in this podcast has the passion for it. And that's why, you know, it's so fun to do these things. So. agree. Anything else you want to promo? you want a Ferrari Production Academy, new music? Websites up I think since the last time we talked so it's www .PurariPurariProdProdAcademy.com Websites up if you guys you know want to buy a course or just inquire about information about how I can help you guys you can hit the website yeah, and Hopefully I get a see you guys in the lessons and you know if you're a DJ and you're looking to take a step forward and start making music, go work with Mikey. Believe me, Mikey's helped me a lot. He's helped a ton of our DJs. Not only he's amazing producer and produces amazing music, but he's a great teacher. And I think it's very hard to find somebody that does both well. So go check out the website. Grab a course, go grab like a quick whatever whatever's up there, grab a course first. And then you know, you can move into working with Mikey one on one. I think that would be the easiest way. New course probably coming out September, once the fall kind of settles in. It's going to be how to remix for SoundCloud, which I think is a really exciting one. You're going to be able to watch me over the course of eight weeks create a remix live and then figure out what to do with it on SoundCloud and grow on SoundCloud in that aspect. So I think that's something that's going to be really popular. I love that. I might have to jump in on that one. I think SoundCloud's been crushing lately and like I get all my music on SoundCloud. It's amazing. waves, SoundCloud went like this, went like this, and now we're back up on the SoundCloud. It's true. Maybe next episode, Gar. SoundCloud, DMP, you know, we'll talk record pools, we'll talk all that stuff. Teaser. All right, guys, appreciate you listening. Mikey Perari, thank you as always for supporting us and being a part of the show. We will talk to you guys soon. Later guys, peace. peace.