From Artist Management to Activism: Carving Your Own Path in the Music Industry with Kyle Frenette

In this episode, we’re talking with Kyle Frenette, who previously was the long-time manager of the band Bon Iver. Throughout his successful and multi-faceted career in the music industry, Kyle has been involved in many different ventures including artist management, starting a record label to promote the local music scene, and political activism--even running for Congress. We’ll hear Kyle’s take on what the most important skills are for a successful artist manager and how he applied his skills managing Bon Iver to other parts of his career including his latest chapter on empowering musicians to use their platforms to promote impactful causes.

Episode Transcript

Jay (00:05):
Welcome to the Drop the MIC podcast where we'll dive into
conversations with some of themusic industry's most
established professionals.
Like all of our episodes, whatyou will hear today has been
created and curated by Stanfordstudents who are breaking their
way into the music scene.
I'm Jay LeBouef and I leadStanford University's music
industry initiatives.
Whether you're aspiring tolaunch your career in the music
industry are already a musicindustry pro, or just curious to

(00:28):
learn more.
We've got you covered.

Dan (00:41):
Howdy folks! Thanks for joining me for this week's
episode of the Drop the MICpodcast.
My name is Dan Sosa, I'm a gradstudent here at Stanford and
I'll be your host and composerfor this episode.
Today I'll be joined by KyleFernet discussing his career as
the longtime artist manager ofJustin Vernon, best known as the
front man of the band Bon Iver.

(01:01):
During his career, Kyle starteda record label called Amble Down
to promote the music of EauClair, Wisconsin.
While working with Justin of BonIver and gaining loads of
experience in a relatively shorttime, he also went on to found
Middle West Management, anartist management firm based in
Minneapolis.
In the latest chapter of hiscareer, Kyle took a bit of time
away from managing to run forCongress and is currently

(01:24):
working on projects at theintersection of political
activism and music, helpingmusicians use their platform for
causes that inspire them.
In talking with Kyle, I learnedjust how interconnected the
music industry is and howkeeping an enterprising attitude
can lead to the creation of yourown opportunities in such a
massive industry.

(01:45):
All right.
Let's get to it! Kyle, thanks somuch for joining me for this
episode of Drop the MIC.
So first things first, how didyou get into artist management
and how did you start workingwith Justin Vernon of Bon Iver?

Kyle (02:05):
I was a musician first and foremost and that's what I
wanted to do and that's whatpropelled me into music and made
me very passionate about music.
I was the one in all of thebands that I was in, who was
booking the shows, buying allthe merchandise, balancing the
books-- handling all of thebusiness side of things, the

(02:25):
marketing, the promotion.
And so I was in bands throughouthigh school and when it was time
to graduate four of my friends,my close friends who were all in
a band together, decided to allmove here to Minneapolis from a
small town in Wisconsin calledChippewa falls, which is 10
minutes North of Eau Claire,Wisconsin where Justin and Bon

(02:47):
Iver are from.
And so we moved to SouthMinneapolis and all went to
music college.
As you might imagine, the bandfizzled out pretty quickly with
19 year olds, all living in ahouse together for the first
time.
So I spent most of that yeartrying to figure out what was
going to be next for me.

(03:07):
My band mates and I had alwaystalked about starting a record
label.
And in high school I discoveredindie music and fell in love
with the idea of creating ascene, and studying up on Sub
Pop and the scene in Seattle andSaddle Creek and the scene in
Omaha and just loved the idea ofa bunch of friends making music

(03:30):
in their bedrooms and putting itout in the world and having this
recognition beyond their littletown and their little scene.
So that was my goal and so Ifigured, well, I can either
continue my education or moveback home and work three jobs
and try to promote the musiccoming out of Eau Claire,
Wisconsin, or we call it theChippewa Valley, which is Eau

(03:54):
Claire, Chippewa Falls, whereI'm from and this town called
Menominee.
That was my plan and the springsemester of my first year in
college the band had broken up.
I had started the label,released my own music, plus some
friends' music and was preparingfor the third release when
Justin posted the"For Emma,Forever Ago" album on MySpace in

(04:18):
its entirety.
He used some type of plugin topost more than three songs or
however many, they let you post.
We were all fans and when heposted that, I was home for
spring break.
I remember he had posted LumpSum on like, on his website
before he posted the whole thingand hearing that for the first
time and it just like completelyflooring me.

(04:38):
You know, it's rare to have areaction like that.
It's only happened a few timesfor me with music where you hear
something and you're just like,wow, this is unlike anything
I've ever heard.
He, and I had met a few times.
My band opened for his band whenI was in high school and I took
piano lessons from his friend,Phil, who played in his band.

(04:59):
And so we had met briefly.
and when he posted the wholealbum, I just couldn't help, but
reach out to him and say, youknow,"Hey, I started this label
and I'm going to school formusic business.
And if you ever need some help,let me know." And from there I
didn't, I didn't really knowwhat my intentions were.
Like it was just, I loved themusic and I wanted to help him.

(05:20):
And I had built a teeny, tinylittle like marketing and
promotion infrastructure on mylaptop, in my bedroom for the
records I had released on mylabel.
So I thought maybe I could lendthem a hand and he was gracious
and kind enough to meet with meand we met and the rest is

(05:41):
history, I guess.
I basically just plugged thatrecord into this tiny system I
had of getting it out to blogsand emailing the right people
and it just snowballed.
And that's essentially then howI fell into management because
we decided that the beststrategic thing to do would be
to self-release it and shop itaround to labels instead of me

(06:06):
releasing it on my tiny label.
That was, I guess, when weofficially said that I was his
manager and him and I venturedout into the great unknown
together and continued doing itfor 10 plus years.

Dan (06:17):
You're referring to your label, Amble Down, right?
Did you keep running that whileyou were working with Justin?

Kyle (06:23):
Yeah.
Yeah.
I kept running Amble Down.
Instead of working three jobs, Iwas managing Justin and getting
all of this experience in themusic industry and making okay
money.
And so I was investing a lot ofwhat I was making on the
management side into my plan topromote music coming out of the
Chippewa Valley.
And so, signed some more bands.
And in total Amble Downreleased, I think, 22 albums

(06:47):
over the years, course of sevenor so years.

Dan (06:50):
It looks like not long after you established Amble
Down, you also founded MiddleWest Management In doing some
research, I was seeing a lot ofmanagement firms more so than I
was seeing a lot of independentmanagers.
Would you say that it's prettytypical that managers will at
some point start or join a firmlike Middle West?

Kyle (07:08):
It seems like a trend now, especially.
I get emails more and more frommanagers that I've known who
were either partnered up orworking at a bigger firm going
off on their own these days.
For me, I knew that I had togrow professionally.
For those first few years,here's when things were
absolutely nuts, the Grammys andSNL and all and Kanye and all of

(07:31):
that stuff.
I was just working out of myhouse in Eau Claire.
And in about 2013, after thingsdied down a tad, I knew I had to
grow and.
Yeah, I figured I still had thelabel and continued to do it,
but hadn't had the success I hadwanted with it.
And so, and just given theadvent of streaming in 2011,

(07:54):
when Spotify launched in the U Sand Apple music came after that.
I wrote a business plan for amanagement firm just because I
figured if I wanted to keepdoing this, maybe my dream of a
label wasn't going to work andobviously I had something in the
form of, a livelihood and, um,most, definitely a career in
management.
So why not grow that?

(08:16):
it seemed like one of the onlyavenues open in that age of the
music industry to beentrepreneurial, unless you
wanted to become an agent, whichI did not.
Or, uh, you had a bunch of moneyand could buy a publishing
catalog.
So that's why I started it.

Dan (08:34):
Can you talk me through what some of the advantages are
of starting your own managementfirm?
What were your goals startingout and how did Middle West
grow?

Kyle (08:43):
So there was a guy here who was managing a band called
Poliça uh, and they were prettysuccessful and so I figured with
the power of Bon Iver andPoliça, we could start a firm
and grow it from there.
The whole idea around thebusiness plan was to do
something different, than what Ihad seen come out of the bigger
firms.
In a lot of those bigger firms,I noticed that you were kind of

(09:04):
were on an island set to do yourown thing.
You had the resources availableto you from other managers and
the network that came with that,but like you were really just
kind of on your own and thateven sometimes like your artists
would get poached by the biggermanagers.
And I just, wasn't interested inthat and wanted to come up with
a way to spread the wealth, soto speak, um, the success that

(09:29):
came with Justin and Bon Iverand the meteoric rise we had,
was I thought an opportunity toprovide up and coming managers
with a way to do what they lovedand grow professionally without
having to work multiple jobslike I had the good fortune of
being able to do.
I was coming across so manymanagers who, you know, had this

(09:51):
blossoming artist or a few butmaybe just didn't have the time
or the resources to take it tothe next step.
And so with Middle West, and theresources we had available to
us, we basically started acompany and came up with a
formula to essentially signother managers as if you would
sign an artist and provide themwith that safety net of a

(10:14):
regular salary of benefits of abrain trust in us and the
network we were building andsupport staff.
And that was the idea to beginwith.
And yeah.
We ended up building it to threeoffices and 30 clients at the
peak.
You build a collective, youknow, you've got everyone's
network everyone's variousconnections, everyone's

(10:36):
knowledge everyone's experience.
So in that sense, it was like,it was really helpful for, for
all of us, including myself.

Dan (10:44):
One theme that seems emergent from your career path
and I'd imagine it's true for alot of people finding their
footing in the music industry isthis need to learn a lot of new
skills on the fly.
How were you able to learneverything you needed to know on
the fly?
Especially at a time when I'msure it felt like things were
going a mile a minute as BonIver kept rising in stardom.

Kyle (11:03):
Uh, put everything, I think aside, including my own
personal life and sometimeshealth to just like focus, I
think when I was young anddetermined.
That plus really good mentors.
Justin and I early on built, Ithink a very good team around
us.
Mostly just based on gut.

(11:25):
And like I said, he was a littlebit older than me so I feel like
his instincts from maybe a bitmore developed than mine in
2007.
He still works with everyonethat we started working with
back then, except for ourattorney, but that's only
because our attorney isn't anattorney anymore and he runs a
label.
I think they saw themselves inme and understood that I was

(11:47):
determined and had Justin's backand so they kind of took me
under their wing and reallyhelped me out.
And instead of like, you know,saying, who's this guy, you
know, like they like reallyguided me through a lot of
things.
So in that sense, that justreally helped a lot.
But yeah, other than that, itwas just like reading and just

(12:09):
literally working all the timeto make up for being thrown into
a situation that, I wasn'ttotally ready for.

Dan (12:17):
How did you know when it was time to add someone new to
the team and who would you addnext?

Kyle (12:22):
You know, things were growing rapidly.
And I remember for instance,after our first tours Justin had
said, I think we need a soundguy.
And I said, Oh, I don't know.
Okay.
What does that mean?
Um, and so we convinced hisfriend Brian to move to
Wisconsin from Colorado, and hehad been touring with The Fray

(12:45):
and was his good friend'scousin.
So.
He started touring with us asour front of house guy.
And then we got a monitor personand a tour manager and
everything just kept growing andgrowing and growing and we just
had to like roll with thepunches because we needed, we
needed all the help.
We, you know, we hired anaccountant.
Early on it's best to conserveyour resources.

(13:07):
Like if you don't need a teamthat big of a team, you
shouldn't have that big of ateam.
I always also say to artiststhat like, you don't need a
manager until you need amanager.
Managers don't always have thesecret formula.
I think a good manager has twoqualities and that's the most
important One is the network andthe, connections.

(13:28):
And then two is work ethic andprofessionalism and not
complaining when you have totake the artists' car in to get
brakes, repaired, you know, likedoing everything from that to,
negotiating a hundred thousanddollars publishing deal or
whatever.
You don't need to build the teamuntil you absolutely need to
build the team, until you haveso much coming at you that you

(13:50):
just can't handle it on yourown.
And I do think too, it'simportant for artists to at
least like experience some ofthe business side of things
before a team is built aroundthem because it's important to
understand what everyone's doingfor you.

Dan (14:03):
If you don't mind, could you tell us a bit more about how
you worked with Justin?
How did you two make decisionstogether?
And would you say that that'spretty typical for an artist
manager duo?

Kyle (14:13):
Good question.
With Bon Iver in particular,Justin drove the ship creatively
100%.
I would definitely give my inputbut the buck stopped at him.
I think now it might be a littledifferent, cause I'm, I'm older,
my frontal lobe is fullydeveloped.
Like I said, I was a musicianand have recently with more time
on my hands, like reconnectedwith that side of myself.

(14:35):
And I think that at least for mepersonally, if I were to start
managing an artist like thatagain, these days I would
definitely have more to say froma artistic creative standpoint,
even to a cultural standpointand just being like way more
informed about politics andculture and because that just
being older and more present andnot so, uh, lost in the

(15:00):
direction of my early career andwhere it was going.
But generally that is a veryimportant quality that managers
should have.
Like thinking about things froma bird's eye view, from an
artistic standpoint, from acreative standpoint and from a
cultural standpoint and thesedays too, because everything is
so political, a politicalstandpoint.

(15:22):
The best managers I know havethat plus the other two things I
named the networking and theconnections and then the work
ethic.
So I guess there's three.
I need to add another one.
And that's the creative side.

Dan (15:45):
So it seems like once things started to take off for
Bon Iver, they really took off.
With such a success story.
I'm sure it's hard to have manyregrets, but are there any
things that you wish youwould've done differently?

Kyle (15:56):
I wish we would have pressed the brakes a little bit
more you know, cause for awhile, if you followed his
career, he has been prettyresistant to showing his face,
um, and giving interviewsespecially more recently.
And that's because of fatigueand just like, we, I feel like
in, early on, we just said yesto way too many things because

(16:19):
it was all new to us and it wasexciting And so we wanted to be
the nice Wisconsin guys we wereand say,"Oh, sure.
Yeah.
Okay.
Sounds good." And I just thinkwe did that a little bit too
much and there could have been abit more mystique around things
and like, even more generallylike licensing songs too.

Dan (16:39):
One thing I wanted to touch on was that it seems like
throughout your career, you'vealways made it a point of
keeping close ties with yourhome, specifically the Chippewa
Valley area in Wisconsin andlater the Twin Cities.
Can you talk a bit more aboutthe connection for you between
your career and your Midwestroots?

Kyle (16:57):
I mentioned before my teenage admiration for scenes
music scenes, especially SaddleCreek and Omaha and just seeing,
you know, all of these friendsin nowhere America uh, do
something and have the worldrecognize it.
Like I just, I had that idea to,before I started managing to

(17:19):
move back home and promote themusic that my friends were
making in Wisconsin and justreally wanted to do that.
And so, because of that, I justkind of like set my sights on it
and decided to stay.
And then once things took offfor us, like it was easy to
conduct business from a laptopand a cell phone and never
really had to, to move.

(17:40):
I mean, there was definitely aadvantage during those few
years, we had an office in NewYork city to be there and have a
presence there and to visit andbe a subway, ride away from a
meeting, with a label orwhoever.
But, early on we didn't needthat like I said, because things
were coming to us and it wasjust a matter of managing that

(18:01):
and I wanted to promote themusic coming from that region so
I stayed.

Dan (18:05):
Typically, of course, when we're thinking about the music
industry, we think about placeslike New York, LA Nashville,
London as being the meccas ofthe industry.
What was it like for you beingheadquartered in the Midwest
away from these massive industryhubs?

Kyle (18:20):
I mean, it had its struggles.
My situation's unique in that Iwas running the label, but you
know, Justin was always mynumber one priority.
And it felt like for a lot ofyears, we were just playing
catch-up all the time.
So I just kind of put my headdown and did that work from my
house in Wisconsin.
And then when it was time to goto the bigger shows in LA and
New York and wherever else, orgo on tour or travel with the

(18:44):
band to the specific place wherelike in Bloomington, Indiana,
where the label was that's whenI would get on a plane and do
that and conduct business andthen go home and get work done.
So it wasn't, it wasn't toodifficult for me.
But yeah, I mean, even likeright now, like in this COVID
pandemic world, we're living inso much business is now just

(19:06):
this people just on Zoom talkingall day.
Especially now that there aren'tshows.
Shows were like where mostbusiness got done the pre or
post dinner hang and all that.
When you're managing an artist,a successful artist, you gotta
show up to where the industryis.
Not necessarily Nashville.
I mean if you're, you'remanaging a country artist.

(19:27):
Absolutely.
But, uh, New York, LA London,Tokyo, you know where the
business is.

Dan (19:40):
So I wanted to shift gears a little bit and talk about
activism.
It seems like activism hasalways been a big part of the
image of Bon Iver with Justinoften partnering with local
activist organizations or othercharitable causes.
Can you talk a bit more aboutthat and how that came to be?

Kyle (19:56):
It's great that you say that because I feel like early
on we weren't doing as much aswe should have been because we
were just so buried in work andtrying to get from point a to
point B.
Whenever an opportunity wouldcome across my desk and I'd

(20:16):
always present it to Justin, butit was, it was difficult to know
what to say yes to and how tospend our resources doing things
like that while also trying tolike make the business work and
get to Cincinnati after a tireblew out, you know, for example.

(20:36):
But yeah, later on, definitelyI, especially around the time
when things were pretty solid onthe Middle West side.
I had a great staff around me.
We were going into our thirdrecord campaign, you know, knew
what to expect from, from mostsides.
We set out to do a lot of workaround domestic violence and

(21:00):
sexual abuse and women'sreproductive rights.
And so we started a organizationcalled Two, A Billion a play on
the album title"22, A Million"and it's still around.
it's mostly just been partneringwith local organizations on tour
to promote their message, theirmission, raise some money, and
they table at each show.

(21:21):
But it's also been more thanthat too.
Recently, the band gave aportion of their publishing and
record sales royalties tovarious organizations working in
the field.
Especially now that they're nottouring.

Dan (21:35):
So related to being more politically involved.
A few years ago, you ran forCongress actually to represent
Wisconsin.
What inspired you to run foroffice?

Kyle (21:43):
I mean, there was a lot that went into it, but really it
was.
I saw an opportunity and dove inheadfirst, not knowing anything
about what I was getting intoand I don't regret it by any
means, but it wasn't for me.
I learned a lot though.
And I took what I learned anddecided I wanted to explore this
notion of what I described inlike, these artists and their

(22:07):
teams, not having any time tofocus on the things that matter
beyond music, I mean, of coursemusic matters and building a
business around your music, butlike building some kind of
business or organization actingas a consultant to artists and
their teams to raise awarenessaround political issues, social

(22:28):
issues just to do moreactivation overall in everything
that they were doing.
And so that came from mycampaign from being out of
management and wanting to dosomething different.
Given this the upside downworld, we found ourselves in
with everything going on andbeing still a novice, but like

(22:50):
way more politically informedthan I was in those early years.
And so I started this thingcalled Be Political, which is
really now just a name of an LLCthat I use for all of these
different activities.
The first thing after thecampaign was I convinced Justin
to go down to Madison,Wisconsin, to play a benefit

(23:11):
show for our Senator TammyBaldwin and it was hugely
successful.
Unbeknownst to us, she raisedthe most money she had ever
raised in a single night.
We signed up a hundred and somevolunteers in the last two weeks
of her campaign to knock ondoors and promoted early voting
on campus at UW Madison and shewon.

(23:32):
And it's not because of us atall, but we had a hand in it, I
guess.
Navigating that show how toraise money for a political
candidate after coming off acampaign myself and navigating
the FEC laws and all of that andhaving it be so successful is
pretty eye-opening and so I tookthat and created this campaign
called 46 for 46.

(23:53):
That was meant to be 46 concertsto elect the 46th president and
launched that in July of 2019.
The idea was to partner withartists who have a strong
connection with a place, youknow, inspired by Bon Iver's
strong connection to Wisconsinand put on shows across the
country, starting shortly afterthe primary for the democratic

(24:15):
nominee in 2020.
Obviously that didn't happenbecause concerts don't exist
anymore.
But, uh, we pivoted andpartnered with a company called
Propeller to build out theplatform that music fans at
these concerts would take actionon.
They're an online platform, andit's all incentive-based action.

(24:37):
So artists approach them about acause they want to support, they
have various organizations ontheir website that support that
cause, and then music fans takeaction to support those
organizations for a chance towin something.
We pivoted the 46 or 46 campaigncalled it pledge 46 and it
became basically a bunch ofonline sweepstakes with 25 or so

(25:01):
artists and all of them wereoffering different prizes.
Uh, Bon Iver offered a, fly awaytrip to Sydney, Australia.
The next time they play allexpenses paid which was really
cool.
Jason Isbell did a virtualguitar lesson with a fan.
Lissie did a private concert forsome fans.
My Morning Jacket signed anoriginal lacquer from their

(25:23):
latest album test pressing.
And so fans took politicalaction and had a chance to win
these prizes.
And I think it was successful onall given the circumstances we
find ourselves in.

Dan (25:33):
Did you find that you were able to apply your background as
an artist manager to yourpolitical career?

Kyle (25:39):
Yeah, totally.
And especially running forCongress was an eye-opening
experience in that for in manyways, but the similarities
there.
It was fun for me when it waslike similar to a record
campaign, which it was very muchso, making a video, setting a
launch date, the marketingpromotion, taking photos, making

(26:00):
logos, establishing an aestheticand a narrative and a story.
Those are all things that I loveto do and had experienced doing
and releasing albums for solong.
So there were a lot of similarsimilarities there.
I figured I could maybe makemore of an impact going back to
music and trying to pair thesetwo worlds which is how the

(26:21):
Tammy Baldwin fundraiser cameabout.
And then after that I partneredwith a friend of mine who runs
the Live Nation branch here inthe Twin Cities to do a show for
the Boundary Waters.
We did a show up in Duluth tobenefit an organization called
Save the Boundary Waters, whichis working to stop mining from

(26:41):
happening up there and ruiningit forever because it's a very
unique and sacred placecompletely protected.
Um, and so we did that show upin Duluth in summer of 2019, and
we raised a bit of money for theorganization and just had a hell
of a time doing it, it was sofun and it amplified the
organization's message and itwas, uh I've got the poster here

(27:03):
right in front of me.
It was a complete Minnesotabased lineup.
A lot of artists had gone to theBoundary Waters multiple times
in their life and were able totell stories about it and yeah,
it was just, it was anothereye-opening experience to be
like, Oh wow, music has thepower to like really amplify
these, these messages and, andmake an impact.
And so I felt like I was reallyonto something there with

(27:26):
concerts for a cause if youwill, quote unquote yeah, so
everything I've we've done sincehas definitely been informed by
my career in artist management.
Absolutely.

Dan (27:37):
That's awesome.
So what's in store for you inthe future?

Kyle (27:41):
I'm enjoying the work I'm doing with Propeller,
propeller.la if you want tocheck it out, they're doing all
kinds of cool stuff.
I don't know where that's goingto lead but yeah, like I
definitely do think there, thereis something in that.
After the Tammy Baldwinexperience, I was talking to a
few campaigns trying to getartists to do like concerts for
congressional candidates orstate candidates.

(28:02):
I mean, Donald Trump did do onething.
And that was, uh, and I don'tknow if it's a good thing or
not, but completely mergedculture with politics.
And now if you're an artist notpolitically informed or speaking
out, like, what are you doing?
That's my question.
Like, should have at least havean opinion on, on something.

(28:24):
And that's why I like Propellerbecause Propeller offers this
platform that has it all builtin for artists and their teams.
And it's very turnkey.
So it makes it if you have analbum coming out or a tour or a
live stream, you can build aPropeller campaign around it to
give away a few tickets to thelive stream or to the show, or

(28:44):
do a meet and greet at the showsor do a exclusive early
listening party of the album orthe single with some fans to
give that away in exchange foraction, that's going to make an
impact on the world instead ofbuilding it from scratch.

Dan (29:01):
Kyle it's been awesome chatting with you.
Before we wrap up, do you haveany final nuggets of wisdom or
anything for prospective artistmanagers out there?

Kyle (29:09):
Do as much as you can to learn as much as you can early
on so that when things arecoming at you and you have to
delegate work to other people,you understand what they're
doing for you and your artist.
That's the biggest piece ofadvice I would give.
Even more simply, and this doesapply to the industry today once
we get past this pandemic, butacting as a tour manager gives

(29:31):
you an immense amount ofexperience going out on the road
with a band touring the country,the world, sometimes meeting
people at venues in theindustry.
That is an immense amount ofexperience and I know a lot of
managers who came from tourmanagement, so that's something
more specific, that up andcoming managers, might be able

(29:54):
to do to, springboard theircareer.

Dan (29:58):
Kyle it's been so great chatting with you.
Thank you so much for talkingabout your career and sharing so
much wisdom with all thelisteners.
And thank you listeners fortuning in for another episode of
Drop the MIC.
We hope that you've enjoyedhearing about Kyle Frenette's
massively successful and verydiverse career path and got a

(30:21):
glimpse of how interconnectedthe music industry is and how
really"choose your ownadventure" it can be with the
right attitude.
Stay tuned for another episodeof Drop the MIC next week.
Again, I'm Dan Sosa and it'sbeen a pleasure hosting you.
See you next time!