We are in day three.
Welcome everyone to the Protect Your Idea Challenge.
I'm going to go ahead and get started.
She is the mind behind the machine.
I am looking terrible.
All of my luggage got left in LAX today.
I'm going to go ahead and get started.
Welcome everyone.
April has gotten some great questions.
Tom is from Hawaii.
You are both Aloha.
It is negative 20 degrees in Calgary.
I'm going to go ahead and get started.
We are so excited to have you here today.
Day three.
We have covered two days of trademarks.
If you didn't hear Peter say this yesterday,
you are over the hump.
He believes the first two days have the most impact.
It is the heaviest.
I'm going to go ahead and get started.
The first day is going to be icing the cake.
Important?
Yes.
You wouldn't have a cake without icing.
It should be downhill.
You will keep rolling in momentum.
I'm going to go ahead and get started.
Drop your welcomes in.
If this is your first day coming on live,
we are so glad to have you here.
Is that a muffin?
I don't know who you're talking to.
I'm not eating anything.
If you're on Facebook or social media,
and you're like,
that's a trademark infringement,
that person shouldn't be sharing that.
I shouldn't be doing that.
Raise your virtual hand.
We would love to hear what's happening in your world.
I want to highlight you.
That is where you're going to find,
click on that raise hand.
Strata, do you want to share?
Let me get you spotlighted.
Tell us,
how have you been applying your new knowledge?
Hi, everyone.
My name is Strata.
I mentioned the trademark names.
I took it down.
I will redo the video.
I'm a physician and surgeon by training.
Through the course of my clinical care,
all these different inspirations came.
Things I need to be teaching outside the course of my practice.
Books,
I realized through the course of this,
I think I might have included this in the e-mail I sent you.
I realized I haven't actually moved forward
with a lot of this stuff.
I think I just had this subconscious block
that I didn't know how to protect these things.
I was like,
why am I feeling so blocked?
I realized that was the issue.
I realized that I was so diligent
about being compliant with the law,
that I didn't really feel
completely confident yet that I am compliant
with the law in terms of copyrights
and trademarks.
As a doctor,
I work hard to stay out of the courtroom.
I'm so grateful for this.
Now I feel like,
that was a big piece.
That was a big part of the creative side
of being an entrepreneur.
me. And I didn't even know it because it's like usually not even mentioned in business courses.
So this is like a big like, you know, like, aha. Yeah. Yeah. So thank you so much. Really excited
to be here. Awesome. Awesome. We have conscious and some people just, you don't know what you
don't know. But when we do move in certain circles, it's so good to have an internal stop.
We call it the Holy Spirit, but God has given each of us a conscious as well. And we have to
train that up and you're training as a doctor, the compliance I'm in mortgages. That's like my
career I'm coming out of. And so financial compliance is huge here too, that you need
to build in that. Wait, stop. Am I, what am I missing? What do I not know? Like, so enough
from me who else has a X. Thank you so much for that. That was amazing. So great to have you here.
You know, if you do have something actually trademarked, this isn't about spamming or
anything, but, you know, you did the right thing to be like, Ooh, I should take that back. If you
haven't actually trademarked anything, so you shouldn't mention it. So, all right. Who else
could share there already? The question of the day is wow. Oh my goodness. After her share, like,
wow. Love this. Love this. The question of the day is we're on day three.
Who would like to share how they're already applying? You're already seeing from trademarks
where you're changing how you do business, how you think, whether it's posting, writing letters,
communicating with people, what are you doing different? Raise that virtual hand
so we can get you spotlighted. We want to hear from you.
Come on, come on. Or I'm going to have to call on an alumni, make you come on camera.
We want to hear from the newbies, don't we, Peter?
Oh my gosh. Don't torture anybody. It's all right. Don't worry.
I've seen all this stage right here. It's painful to watch. I was like, let me get on. It's so
funny. So, hey, I just finished grabbing some extra data for you guys because I've been watching
all of your videos. First of all, hello, everybody. How's everybody doing? Good to see all of you.
We are going into copyrights today. A lot of you, this day is extremely important to a lot of you.
Some of you actually don't realize how important today is to you, meaning you thought most of
your issues were trademark issues, but actually some of your issues that you were talking about
actually are copyright issues. I'm going to show you how they pertain to copyright law,
but then on top of that, I'm going to show you how do you determine the difference between
trademark issues and copyright issues? That is, right, April? That's such an area where people
get really messed up. They're just like, hold it. Hold it. I've got a website. Is that a trademark
issue? Is that a copyright issue? What about the book? What about the pamphlet? What about the
handouts? What about I'm a coach. Since I'm a coach, what happens to all the materials that I
have? How do I know? Is that protectable by trademark? Is that copyright? Is that patent?
We're going to go into that deep today. There's another one. That's me. I figured there's going
to be a lot of people here. Now, here's the thing, guys. Here's the issue. For this group,
specifically, there are more copyright issues than usual. For that reason, I'm actually going
to break it into two sessions. What I typically do is I typically, like on day four, I'm hitting
patent issues, but very little copyright. What I'm going to do is I'm going to hit copyright
today and hit it tomorrow and touch base on patent stuff, but we're going to hit it twice
because you need it. Like I said, I told you I would watch your videos. I've been watching videos.
There's some more I need to go through. Some of you have been emailing me. By the way,
just so everybody understands administratively, I believe I didn't catch it, but Larissa, I believe
I caught a portion of you introducing Ray, which is wonderful. Everybody, that is Ray Carter.
I missed you guys already. Awesome. That's great. She's our head of operations. She takes care of
all the back-end stuff. If things are working great, thank her. We work very
tightly together. I'll make a good team. I definitely appreciate you, Ray. I appreciate
Larissa. Just great people. Here's the deal. As I was going through everything, I saw that
your questions are breaking down to multiple categories. There's a lot of coaches here,
and then there's a lot of people that have... They're publishers. They're doing books. They're
doing music. They're doing artwork. There's two major groups. There are
coaches, then I see everybody else.
That's basically how I'm seeing this,
is there's the coaches, which is a lot of you,
and then there's everybody else.
So I'm gonna hit it so that it hits both of you,
and I'm gonna take it piece by piece
so that you can keep up, okay?
Copyrights are very interesting.
Of all the different areas,
I'd say copyrights, number one,
they're the least expensive, which is great.
I mean, you can file something for 65 bucks.
That is amazing.
Like, anything from the government
for 65 bucks is amazing, okay?
That's number one.
Number two is that if you actually do file
with the government, you actually can get
a federal registration.
With a federal registration,
you can now seek what's called statutory damages.
You know, what's really funny, Larissa,
is I was gonna take it slowly and say,
hey, guys, how's this, how's that?
They're just drawing stuff out of me.
Like, I'm, like, jumping right in.
There's, like, no introduction.
We're, like, going right in, so.
Yeah, so here's the thing for all of you.
You get stat, you have the potential
of receiving at least statutory damages
if you have a federal registration.
If you don't have a federal registration,
you're not, you're not guaranteed statutory damages.
You've gotta prove your damages.
It costs you a lot more time and effort
to prove your damages, right?
So what does that mean, statutory damages?
So imagine that every single infringement that happens,
you get at least $500, guaranteed.
If you can prove there is infringement,
you are guaranteed X amount of money.
That's what statutory damages mean.
What that means to you as the copyright owner
is that when you threaten somebody
and you see they've used your material 1,000 times,
you see how this adds up?
They're like, guys, if I win this thing,
I'm guaranteed at least $500,000.
You see, this adds up very fast.
And so because of that,
I think the actual amount went up from that, Larissa.
I'm not sure if it's still 500.
I think it actually went up.
That was the number a while ago.
So it's, like, the litigation that I do,
I'm always going for attorney's fees and things like that.
So I don't really care much about statutory damages.
I'm going more for, like, the big, you know,
I'm taking the big, expensive piece of meat off the cow,
essentially.
I'm not going for, like, the little stuff.
But in any case, for all of you,
as you file for these $65 registrations,
you get to the point where you're saying,
look, you've infringed this thing.
You've got 20 situations where you've infringed.
I'm guaranteed X amount of money.
If I can prove that there's infringement.
That will result in people settling a lot faster,
meaning they don't want to do litigation with you
when they know that they're going to be subject
to at least statutory damages, all right?
So it just gives you more strength.
Now, in the copyright realm,
here's the beautiful thing.
You actually don't have to file anything.
You automatically have rights under copyright law.
Whether you file something or you don't file something,
you automatically have rights.
See, in the copyright realm,
it's not just about do you have legal rights.
It's more like who can threaten who the best.
That's really what it breaks down to, right?
Because, I mean, honestly, think about it this way.
It's like, you know, here's one country.
They have nuclear bombs.
Here's another country.
They have nuclear bombs.
Neither one wants to be in a battle.
So one says, well, I have 250 million nuclear bombs.
The other one says, well, I have 120, you know, 5,000.
Okay, well, it only takes five of them
to destroy a whole country.
So I don't care if you have 2 million or if you've got 250.
You know, it doesn't matter, right?
So you're basically, in the copyright realm,
what you're doing is you're trying to build a case
to threaten the side enough so that they go away
without the battle happening.
That's essentially what you're doing, right?
And being able to threaten statutory damages will do that.
It helps you, okay?
I just want to harp on that point
because a lot of people say to me,
well, do I need to file something
with the copyright office to have legal rights?
The answer is no.
You don't have to file anything.
The second you publish something,
you have legal rights under copyright law.
Peace through strength.
Yeah, yeah, exactly.
That's essentially it.
That's it.
So you automatically have certain rights
the second that you fix your original work
into some tangible medium.
The second that you do that, boom,
you have rights under copyright law.
So if you go out there and you go on Facebook
and you start singing, you know, whatever it is,
whatever song you want to sing.
Boom, you have rights under copyright law.
Now, if you did it on Facebook, so does Facebook, unfortunately.
But we did that on day one, so you learned that on day one.
If you do it on TikTok, so does TikTok.
So there's a number of different companies
that when you make your work available on their platforms,
they have certain rights.
And they need to have certain rights
because if they didn't have certain rights,
then they wouldn't be able to republish what you have.
They can get in trouble for republishing,
so they don't want that.
So let's go into a few different things.
Let me talk to you about what other rights that you obtain.
Let's do this.
Let's talk about the different classes of protective rights.
Let me share something with you.
There we go.
Look at this.
I created this slide for you guys.
There you go.
View, slideshow, current slide.
What is this?
Not now.
On current slide.
There you go.
All right.
These are the different categories.
And you know what I'll do for you?
I will take this slide.
I'll take this, and I'll actually put it up
on the Facebook group for you.
Larissa, can you just DM me that so I don't forget?
OK.
These are the rights that you have
if you obtain copyright rights.
These are the different categories of rights.
Then I'll go into what you actually
can do with your copyrights.
There are literary works that are
protectable under copyrights.
So those are like books, publications, blogs, manuals.
Those are all protectable under copyright law.
That includes a lot of you.
How many of you are authors?
Just raise your hand.
A lot of you are authors.
All of your books, copyright law.
Now, I've seen some of your questions.
Some of you email me directly, and others of you
actually posted questions.
One of your questions was, well, what if I'm
doing a book with a publisher?
Do I maintain the rights to the original work?
OK, so let me share on this point
now because I've seen people who have come out
with tremendous books and series of books,
and then they make such a small percentage
because they gave all the rights to the publisher.
So under copyright law, the original creator of the work
owns the copyright unless you give that right to another.
Now, those agreements that you're
signing with your publishers, most of you
are going to see language in there saying that you're
transferring your rights associated with your book
over to the publisher.
Some of them don't do that, but many of them do.
So make sure you're reading your agreement.
And make sure that if you don't want
to assign our right, title, and interest over to the publisher,
then don't do that, please.
Because what I find is, all of a sudden,
the publisher has all the legal rights to the book.
And so they can work with you or not work with you going forward
because they have all the rights to the book.
They no longer need you.
So they can get somebody else who's ghostwriting.
And so you've got to be careful.
Make sure you maintain all the rights to your literary works
when you're creating a work.
Musical works, so if you're singing
or you're doing a play, those things are all protectable.
Like dramatic works, that would be an example of a play.
Musical works would be like if there's
a Star Wars, the soundtrack to Star Wars,
that's a musical work.
So that's protectable under copyright law.
Pantomimes, if you're really good at this stuff,
if you're good at that, you have legal rights
to being able to do this.
Pantomimes actually have certain legal rights
under copyright law.
Also, choreography.
I have somebody, Holly, who's actually
in what I call the protection portal, which
is a separate network that I have.
It's incredible.
The people in there are remarkable.
She's a choreographer.
And so her works are all protectable under copyright
law.
If you're a photographer, your pictures
are protectable under copyright law.
I'll give you an example.
I received a phone call from the owner,
the president of an organization.
The organization makes websites for dentists.
And so he called me up because people
were taking his websites.
They were copying the content and creating their own website.
And then they would either sell it
or they would use it for themselves.
And so he said, I want to stop them, but I don't know how to stop them.
So he said, can we sue them for patent infringement? I said, no, there's no patents
involved. Like there's no, there's no method. There's no, this is website content, like the
words, you know, the pictures, the descriptions of what's a root canal, like the description
there and the picture that's there. And he was tired of people stealing it. And so I said, well,
why don't we do this? And this is for all of you that have websites with your own exclusive
content. You can file a copyright application on your website. A lot of people don't know this.
You want to stop people from stealing your content, follow a copyright application
on your website. Okay. Now the way that works is you can either take all the pages from your
website and file it, or you can take certain pages that are more important to you and file
those separate. Right. So we ended up filing a copyright application, got the federal
registration. Then we started sending cease and desist letters where we're telling other people
to stop immediately. And in the process, we would ask for $2,500 for every single person who was
infringing. Every one of them, I'd say probably 90% of the people paid. Some people couldn't
afford it and asked, you know, said, would you please, you know, forgive us and we'll stop. And
he was basically asking for the attorney's fees back. That's essentially what he was doing.
Cause he was, it was costing him money with his attorney to enforce his rights. So he incorporated
that into his cease and desist as his, as his demand. And, and it worked out well, but his
whole point was the pictures of the teeth. Those were his wife's teeth. Now I don't know why in
the world he put pictures of his wife's teeth on his website. I think just in general, that's
probably a bad idea, but he got really upset when his wife teeth ended up on somebody else's website.
And he told me that it's like, he said, you know, Peter, it's really messed up. Cause my wife's
teeth are in other people's sites. I said, why did you put your wife's teeth in the public anyway?
Like, I don't know, but in any case we ended up winning all these cases. And so that's a way you
can protect your website. All right. So photographs are protectable NFTs, whole other business,
huge business in the NFT realm. This is such a huge industry guys in the NFT realm,
the artists who creates the original work before it becomes a computer generated image, which turns
into an NFT, which is a non fungible token, that original artists, that original work
that's protectable by an artist. That drawing is protectable on the copyright law.
So if you think to yourself, well, I'm just going to create a huge NFT portfolio and start selling
it. I'm going to find some images that I like online, grab those, turn them into NFTs and sell
them on OpenSea. That's copyright infringement because the artists owns the original works.
The original artistic work is owned by the person who created the art.
Okay. So you can't just do that. You can't make NFTs off of things that already exist
and not expect to potentially be sued for copyright infringement.
Okay. Motion pictures, like if you're doing videos, those are all protectable under copyright law.
If you're going on TikTok and you do a live video, you actually have certain rights under copyright
law because you created that work. And then architecture works like my daughter's in
architecture and interior design. All of her creative works, they're all protectable
under copyright law. So these are things you kind of want to know these things beforehand,
because if you understand what's protectable in your work, then you can section out what's really
important to you and actually file with the copyright office. Now, if you want to protect
your copyright work, you can go to copyright.gov. Okay. So I'm going to show you the site real
quick. And then I'm going to show you what rights you actually get with a copyright.
So let me just show you the website real quick so you can see it.
There we go. And share the screen.
All right. Here we go. How many people here have never seen this website? Just by a show of hands
so I know. Okay. There's a lot of you. Okay. This is the Copyright Office's website. Okay.
We're going to go over this a little bit here. And then we're going to go over it a little bit
tomorrow as well. But I want you to get familiar with it. And as homework,
again, this is free. This is free. Go on the site.
play around, look around, see what's there, but let me show you something here. If you go under
registration, right under registration they have all these different types of works. You see that?
Remember how we talked about under copyright law you can own a literary work like a book?
So if you're an artist and I mean you're a author and you want to own rights to your book,
just click on literary works and here's a really good description and there's some videos here
that actually show you how to file a copyright application. It's not that difficult. It really
isn't. Maybe like the first or second time you use a lawyer, you know, as time goes on,
if you're busy, use a lawyer, but a lot of times, you know, if you're doing the same thing over and
over and over and over, it becomes a little easy for you because you're kind of familiar with it,
but these are the kind of things I have my paralegal do, right? I mean, it's tough to justify
a thousand dollar bill for filing a copyright application. Like it just doesn't make a lot
of sense. So I have my paralegal do a lot of that work. So just for your own knowledge, I just wanted
to show you this site real quickly, copyright.gov. You can look around. There's really good tutorials
in it. It'll show, give you some different information on the different classes. If you
are in the area of, of doing like photography, you've got your visual arts here. You can look
in here for pictorial works or like if you're doing paintings, there's another one for paintings.
So here's one just for photographs. So you, you just go in there and explore,
learn a little bit more about what you're doing and what you need to do to file, right? We'll
talk more about this tomorrow. I just wanted to give you a general view of what the copyright
website looks like. Okay. So now you all know where it is and as homework, just go in there
and look around and see what it's, what it's like. Now, let me talk a little bit now about something
that I think is really important for you to understand. If you actually file for a copyright,
what exactly do you get? Let's, let's talk about that for a second.
I build a journal. Hold on. Let me just look at the chat for one second.
If I build a journal with a new concept for a day planner layout, would that be copyright?
Okay. Good question. Let me just jump on that for a second
because there's a number of people who had a very similar question. All right. Your layout. So let's,
let's say you come out with a, this is a complex issue just so everybody knows this isn't a very
straightforward issue. So I'm going to break it down slowly. A new journal. I have a number of
journals here. There's one, the master's mind. This is love this one. So there's one of the
journals they gave us, right? So in the master's mind, it's broken down as different pages. There's
it's not really a complex journal. It's more, it's more like a notebook quite frankly, but,
but let's say it had like three different sections. Let's say it had like a calendar section
and then it had like a day-to-day planner. And then it had like a flow chart for you to enter
certain things within your day. And it gave you like like an equation that they give you a total
number out of a hundred. And that lets you know whether or not your day was efficient, right? I'm
just making this stuff up. And so you're thinking to yourself, I want to own the journal. Okay.
Copyright law will allow you to, to own a book, a publication, but it does not allow you to own
the format of a book, right? Meaning that there's one section that's the calendars. There's one
section that that is writing stuff. And there's another section that's equations. Copyright law
Copyright law is not going to let you own that kind of journal. It's it, if you're writing a book,
right, where there's like a beginning and end, like a story or like fiction, nonfiction, whatever
it is, you can own that, but you can't get a copyright on, on the general format of a physical
book. Okay. Now, what you may be able to do, and this is a, this is a reach, you would have to
come out with something that is so ingenious, so unusual, that you could possibly file a patent on
it. And so the way you would end up doing is saying, you know, you would call it a, a method
for such and such. And then
In your method, you would describe the process
that's utilized by your journal.
So nobody could ever use that again.
And we'll talk about patents later.
But copyright law is not going to allow
you to own a journal that has part of it's a calendar,
part of it is notes, and part of that is like an equation.
It's not going to let you own that idea.
So now you have to figure out, how do I
grab things that are associated with my journal?
So let's say that the equation is kind of novel,
that idea is novel.
Well, you might be able to file a patent
on the method that's utilized by the equations.
So you could, let's say, a method
for determining if you had an efficient day, comprising.
And then you can talk about all the steps that
are performed in that method, and potentially obtain
a patent.
But I can tell you that if it can be done by a human being
without a machine, there's law that
makes it very difficult to get a patent on anything that
can be done by a human being without a machine.
So we'll talk about it on the patent day.
So that's kind of a long way of saying to you,
if you have a logo on the book, how do you own the logo?
Somebody type in the chat, how do you own the logo?
If you had a logo that was on the book,
type in the chat what you would use.
Trademark, right.
If you had a section of the journal that
is a description of how to use the journal,
and talks about your inspiration for creating the journal,
and what your hope is in creating the journal,
how is that protected?
How could you describe that part?
Copyright, exactly.
So that part is protectable by copyright.
If you have a unique equation or method of deriving
whether or not somebody had an efficient day,
and it uses more than just a human being thinking
about something or just writing things down on paper,
how could you protect that?
Patent, exactly.
That's patent.
Do you see how the world, it all works together?
So you can have a single thing that
can be protectable in multiple different ways.
OK, so I just want to touch base on that question
because it's a very complex question.
But I wanted to hit that just so you
can see how the three different bodies of IP work together.
So it's really valuable to have people around you that really
get this, quite frankly, because you're not always going
to get a very simple scenario.
You're not always going to walk into a, oh, that's a logo.
That's a trademark.
Got it.
Done.
Or, oh, you file a trademark application, right?
After you file a trademark application,
you don't just get an allowance.
You get an office action.
Well, what do I do then?
Be nice to know.
Be nice to have a relationship with individuals
who actually know.
So just realize that IP is not just very simple.
The filing can be simple, but then there's
other things that happen later.
All right, so let me explain to you what kind of rights
you get under copyright law, OK?
Service markets for service, not a product.
Correct.
That's right, Sally.
You got that right.
All right, let me share with you another screen.
I created these screens for you guys
because I kind of figured that this, at least for today,
is going to help you a lot.
If I can show you.
There we go.
All right, can everybody see the screen here?
Rights granted by copyright.
I'm going to drop this in the Facebook group as well.
These are the legal rights that you
have if you have a copyright, OK?
These are your legal rights, all of these.
The right to reproduce the work.
That means photocopy it.
That means if you take a picture,
and you now take that picture and you put it on Facebook,
and somebody takes that Facebook image and decides,
you know what, I'm going to use that as my background
on my funnel or my website, that essentially
is reproducing the work, right?
The person who owns the right to reproduce
is only the copyright owner, nobody else, nobody else.
You can't make photocopies.
You can't do anything like that.
You can't make what are called derivative works either.
That's the second one.
Preparation of derivative works based on copyrighted work.
What does that mean?
Remember how I talked to you about NFTs?
So the original work is a drawing.
Let's say the original work is a drawing.
Hopefully I can get my camera back if I do this.
Yeah, I can do it.
Let me do this quickly.
Hopefully I can get it right back into place.
Right there.
See that?
That's an original work.
That's Lynn Lanesky's original work.
That's the painting that she did
at the 100x conference itself.
It's not a copy.
It's not a replica.
It's the original, right?
Now, hopefully this goes right back.
Yay, it worked.
Perfect.
So that original work,
what if I took a picture of it?
And then I gave that picture to somebody
who deals with computer animation or computer graphics.
And I said, please turn this into a computer image.
Then I take that computer image and I turn it into an NFT.
That's called a derivative work.
Like that's taking the original work,
which was a painting,
and turning it into a computer rendered image.
That's not, you can't do that
unless you're the original copyright owner.
Now, everybody remember the Mona Lisa?
Does everybody remember the painting of Mona Lisa?
Okay.
Does anybody know what's in the background of the Mona Lisa?
Look at that, nobody knows.
You know why?
Nobody cares.
Like nobody cares.
At the end of the day, nobody cares, right?
What people care about is the face, the hands,
but nobody realized that there's a body of water
in the background.
Nobody realizes that there's like, you know,
a hill region or like there's like green there.
Nobody knows.
All right, some people know.
Poppy know, Poppy knew, Poppy knew,
but not too many people realize that, right?
So the whole point being,
if you take the Mona Lisa and you draw a mustache on her,
okay, that would be a modification of the original work.
You cannot do that.
You can't modify somebody else's work.
You can't take somebody's,
like somebody else's painting and slightly modify it.
That's a derivative work.
That's a modification of the original.
You can't do that, okay?
You can't take the Mona Lisa and like give her an Afro.
Like that is, that's a modification of the original work.
All right, and so therefore
that would be copyright infringement.
The reason why I'm telling you this
is because I know what a lot of people do
is they take images that they find online
and they take those images, they slightly modify them,
and then they put them in their funnels or their websites
or their marketing material
or whatever it is, their brochures,
and they think it's okay
because they did a slight modification.
That's a derivative work.
That's a violation of copyright law, okay?
So you can't just slightly modify something.
You need to come up with a brand new work, all right?
Distributing copies to the public.
So if you have a group,
yesterday you have a group session
and you wanna talk about, let's say,
you wanna talk about what we've done here
in the Protect Your Idea Challenge.
So you say, hey guys, there's this cheat sheet
and I know he said that he's an IP attorney,
but how in the world is he gonna know
that I'm gonna photocopy the sheet,
I'm gonna hand it to all of us in this group session?
That's copyright infringement
because the original work is protectable by copyright law.
Publicly performing the work, you also can't do that.
If somebody writes a play
or somebody writes a script for a play
and somebody acts it out,
that's acting out what's in the written script.
So therefore, that's copyright infringement.
In sound recordings, basically think of it as,
I don't know if people know this.
Does anybody here know who BMI is?
They enforce, there you go, Tom knows, a few people know.
All right, BMI enforces IP rights
for those who own original works, original musical works.
So this is why if you have a cafe
or a bar or something like that,
you can't just turn on the radio and play it.
That's copyright infringement
because you're playing the music that is owned by others.
You need to obtain a license to play in public
the musical works of others
because that's a public forum
and you're getting revenue for people who are coming in
but they're enjoying the music.
So therefore, that's copyright infringement.
You can't just do that, okay?
Are you guys following me so far?
This isn't too difficult yet, right?
Okay, anybody got it?
I'll take a quick question
if somebody has a quick question so far
on what I've covered.
Anybody have a quick question?
Hey, Peter, while we get our raised hands,
in the meantime, everyone's a little interested
in the replays.
They just let them know that they're gonna be,
links will be emailed out to you guys with the replays.
They are very high quality videos.
And we do a little bit of light editing.
So once that's finished, we'll get them uploaded.
We'll have them emailed out to you so that you can watch the replays of this.
Yeah.
And so the replays, so what happens is we finish, we finish
up at almost 10 o'clock at night.
Then I have to wait for zoom to finish zoom finishes at like 1130 at night.
Then I start video editing.
So then I start watching the entire thing, beginning to end, see what I need
to clip out because somebody talked about their best friend, you know, and
didn't want that public or whatever the case is, I clip out stuff and then
I come out with a final version.
Then I add an intro, you know, video portion, um, fade in, fade
out, which is really simple.
And then that has to be rendered once that's rendered.
It then has to be uploaded into either YouTube or into Vimeo in a private status.
So now we're already at like three in the morning, you know?
And so at that point, I'm waiting till the morning to see it.
And then, you know, you may get it in an email at that point, but what typically
happens is the Facebook group, you'll see it in the Facebook group.
Um, you'll see all the videos are posted there.
And then on top of that, if you're in VIP, you're going to get a personal email
before the end of the next day, that'll have the challenge video there.
And it'll also have the, uh, VIP video there.
Okay.
And the, here's the best thing on day, on day five on Friday, I send a
comprehensive email out to everybody.
And so I just, I do this cause I really care about you guys.
So I send you a comprehensive video at the end and in the comprehensive
video, it has every single link.
So you get one email that I'll show you day one, day two, day three, day four,
day five, Oh, are we doing like, I can do a rabbit or something like that.
No.
Well, while you're talking about that, well, while you're talking about
the replays, um, just want to point out to everybody, if you're not
familiar with Facebook groups, when you're, um, either look across the top,
there'd be guides and that's where Peter is posting the replays guide day one
guide day two guide day three.
So you'll probably see a post, but if you miss the post, go to the guides,
take your time and familiarize yourself with Facebook groups.
If you're not.
So, you know, yeah, that's it.
Exactly.
So go into the guides, you click there.
And once you click on the guides, you'll see, it's already there.
Day one's there.
Day two is there already.
All right.
And so you'll see, I'll always be updating the Facebook group
with the information there.
And then with additional tonight, I'll be dropping some extra links for you
guys to be able to use over there as well.
Okay.
All right.
Let me take one question.
Felisa, Felisa, it's funny.
I see your name.
And I think of Christmas, like Feliz Navidad, you know, so go ahead.
Oh, well, thank you.
Kindly.
Can I, is this okay to ask a good time to ask the question about I'm writing
with someone else and they can see my manuscript, but we don't have an
agreement as a coach, talk about it.
Sure.
Why not?
This will be helpful for people.
So hypothetically, I have a, a wonderful book coach.
Um, one of the pieces of software and tools that she uses is where she can get in.
I can get in.
This is my manuscript.
We don't have an agreement to protect my ideas.
Um, but I trust her because she's kingdom.
Is this, I saw the face.
Okay.
Yeah.
What are the options?
Because I don't think either one of us is really in a position to get a lawyer at
this time, but what are the options for two ladies in such a situation?
Yeah.
So theoretically these two amazing, brilliant people coming together and one
person starting out with a version of the book, the other person's coming in and
doing editing is the second person contributing, or are they just doing
edits to what's already there and not really contributing edits, edits.
All right.
So here's the thing is that copyrights really fall into the right of the
creator of the artistic work.
Right.
So if I write, um, if I write a poem and then my wife sees it and she laughs and
after she's done laughing, she like changes like one or two words because
it's grammatically incorrect.
She didn't contribute to it.
Right.
I'm still the, the copyright owner because I'm the one who created the original work.
Now, if instead she looks at it and then at the ending of it, instead of it says,
and therefore, and therefore, um, and therefore I sit on the hill and I adore.
So instead of that, she says she changes it to, um, and therefore after climbing
on the mountain, I snore something like that.
Right.
She changed it to that.
That's different.
from my original work, right? It's even though she's editing, she's kind of contributing.
And so therefore, that's when you start to get into a sticky area of who's the true copyright
owner, right? Now it's like, well, the true copyright owner might actually be both, you know,
because she added a line to my poem. So this is why when I coach people on, like, I'm not just an
IP attorney for like 25 years and been doing litigation, prosecution, everything. I also
mentor people, right? So people that are in businesses, people that are running organizations,
they're thinking, well, I don't know what in the world I own. And I'm going to this meeting, Peter,
you got to tell me, how do I go to this meeting with this software designer? And I'll say to them,
well, you've got to get an agreement that says they assign all right title and interest for the code
over to you before they start to work. Because if they start to work, they're the copyright owner.
So now when you buy the software, you don't own the code. You own the graphical user interface,
and you own the software portion that you're interacting with. And yeah, you spent $85,000
on it, but you don't own the code. So now what happens is after a year, the law and cause of
software company says, hey, do you want to renew your license? And you say, what license?
And they say, well, the license for the code that you've been using. And you say, I spent $85,000
with you to obtain this thing. What do you mean? Like, what are you talking about? And they say,
it's simple. I own the copyright. That $65 piece of paper
results in you having to renew a license. So in your situation, you need to make it clear
in an agreement. And this is for all of you that are authors. You need to make it clear
in your agreement with anybody who is a copywriter, anybody who is editing your documents.
Get it in writing up front that if they in any way contribute to the legal work, the final book,
the final manuscript, that they hereby assign all right, title, and interest
under copyright law to you. Like, get it in writing right up front. Don't allow them to do
editing and then all of a sudden say, you know, I kind of feel like I added a lot to that book here.
And by law, since I did add, you know, even a few lines to the book, I am an author.
Now, why do I say that? Because the authors have a 100% interest in the work.
That's scary. Like, guys, this is scary stuff. If you're writing books, and you're getting paid
$50,000 for a book or $150,000 for a three series or whatever it is. And you realize that the person
who has been reviewing and editing your content added some new stuff to it, and you agreed to it.
Yeah, that's good. Yeah. They may actually now be an author. An author has a 100% interest in the
work. That means they could sell your rights. This is so bad, but I've seen it. They could
sell your legal rights to a publisher without your authorization. Now, they'll be selling their legal
rights, not your legal rights. So you'll actually have certain legal rights, but they've now locked
certain rights in the work to a publisher that you never agreed to. And so it's just,
it's difficulty you don't need. So for this reason, if you're going to work with somebody
else to do editing on your books, to do ghostwriting on your books, to do anything,
get an agreement in place right up front that says all of the editing that's done here
is subject to the following agreement. And in the agreement, it says,
they hereby assign our right title and interest for any copyrighted works to you or to your
organization. And you might even want some language in there saying, look, they don't have
the right to add their own storyline or do modifications to the text. They're only editing
it grammatically. Okay. So that's the way I would, I know that's a long answer, but I know there's a
lot of authors in here. Is there a special form or a place we can get a special form?
No, I would speak to an attorney to get that, like make sure, because then when you have one of them,
here's the thing, things like non-disclosure agreements, things like the form I just talked
about, these are things that you can use multiple times with different parties. So do it once,
get it done right the first time, and then you can modify the document for each other party,
right? If you have a non-disclosure agreement, what a lot of people don't realize is in an NDA,
you shouldn't just have an NDA, you should have a non-compete also.
So if I meet with Judy and Judy Miller is like really gifted
and I go and I sit down with Judy and I say, you know what?
I'm gonna disclose this thing to Judy
and I'm gonna have her sign an NDA, right?
And so Judy happily signs the NDA.
But then three weeks from now,
she's starting a company competing against me.
So she's agreed not to disclose what I've said,
but she's now taken what I've told her
and building a company that's kind of founded
on the very principles of what I'm doing
because I never had her sign a non-compete, you see?
So NDAs and NCAs work together.
This is why it's very valuable to speak to an attorney
when you're doing a certain thing.
Now, you may do that thing multiple times,
in which case do it right the first time
and then you can modify it.
And what you do is you just speak to the attorney and say,
here's the modified document.
Can you just glance over this for like a few minutes
and tell me, make sure I did it right?
That's the difference between a $1,000 bill
and $150 bill, right?
Oh, that's much better.
Yes, thank you.
Yeah, no problem.
This is why, hey, Victoria, how are you?
This is why people that go through this challenge,
like literally you'll see,
they'll publish these reports saying
they've saved thousands of dollars within months,
literally because that's how you do business.
When people work with attorneys,
I'm just gonna add this as an aside real quick
and then we'll jump back in.
How many people here, when you went to buy a house,
you saw the price and you said, I'll take it.
Just raise your hand.
Really, nobody?
Nobody?
Is that right?
Oh, Nick did.
Okay, fine, Nick, fine.
But the whole point being it's a rare situation
when people do that.
But usually when people approach attorneys,
it's totally different.
When they approach attorneys, they just say,
okay, whatever the attorney says,
they don't check on budgets,
they don't check on what the project costs,
they don't check on anything.
They just say, here's my situation and you just handle it.
And then they get bill after bill after bill
and they have no idea what's going on
and they just pay the bills.
And I see heads going up and down.
Because I know because, you know,
I coach people in understanding these legal theories
so they don't end up spending more money than they need to.
Okay, so all of that basically to say,
first of all, to answer your question, Felisa,
you may have a situation
where you've got another author there.
Check and make sure that that doesn't happen.
And if you're entering into agreement
with another person to edit your book,
make sure you got an agreement with them
saying that if they have any creative works in your book
that they're contributing,
they hereby assign our right title and interest over to you,
that will notify the entire issue.
So then they can't do anything.
Like you don't have to worry about anything, okay?
All right, let me jump back in here.
Let me talk a little bit about the copyright notice.
Do you guys know what I mean by the copyright notice?
I see a few people, yes, a few people, no.
All right, okay, let me explain something to you.
The copyright notice, the way it's supposed to look
is circle C, the year,
and then the owner of the copyright, okay?
The copyright notice is not supposed to look like
circle C, copyright, the year,
and then the person who owns it.
Because that's essentially saying copyright, copyright.
Okay, so people that are in the legal profession
kind of laugh when they see that
because you're essentially saying,
hi, my name's Peter Peter.
You know, it's like, no, your name's Peter.
So in the copyright realm, you just use a circle C,
or if you don't wanna use a circle C,
you can just write the word copyright, okay?
So do one or the other.
Now, legally, you're not gonna get in trouble
if you do both, it just looks funny, okay?
Now, after that, you're putting the year
in which you created some kind of new work.
So if you have a website, and in 2020,
you edited your website,
but you haven't edited your website in 2021 and 2022,
then it wouldn't make sense for you to have 2020-2022,
because you've added nothing to your website.
There's nothing new in it.
So the year that you're listing
is a year that you added something new.
Now, if you modify your website in 2021 and in 2022,
then by all means, have 2020-2022,
because those are the years
that you have edited to the website.
So on the bottom of your website,
every single person here should have a copyright notice.
If anybody's got a funnel,
every single person here should have a copyright notice.
I can't tell you how.
How many times I've heard people that we all know
who are very high-level individuals,
who are very upset that other people are grabbing
their funnels or grabbing their content, okay?
Get the copyright notice on the funnel.
Get it on the websites.
Let people know that it is your legal right.
Now, you don't have to use a copyright notice
to actually have legal rights.
There's a shocker.
A lot of people don't know that.
You do not, again, let me repeat.
You don't actually have to have a copyright notice
on your website to actually be able to say,
I have rights under copyright law.
The reason why you're doing it is to make sure
that people know so that people will back off.
But there's no requirement by law for you
to actually have the notice on before you tell somebody,
hey, that's my material.
You don't have to do that.
Now, the third part of the notice,
which I told you was the name of the owner.
So let me take a moment here and talk about this.
We touched base in VIP two days ago
about ownership of IP, all right?
So I wanted to bring this issue here to all of you.
There are pluses and minuses to having IP in your name
and pluses and minuses to having it
in the name of your entity,
meaning like an LLC or whatever it is,
whatever company you have, okay?
If you have the IP in your name,
there is a chance that people that wanna assert rights
against the IP are gonna see that it's in your name
and sue you directly, all right?
Now, hopefully you have an LLC that can shelter you
or some kind of other entity that can shelter you.
But the point being, if it's only linked to you,
there's only one person they can punish, which is you, okay?
So that's one negative,
but there's also a huge positive to keeping it in your name.
If you have an entity or a company
and the company has multiple members who run the company,
meaning owners of the company,
if you take that IP and you make it owned by the entity,
you may lose the rights to dictate what happens
with your own IP.
Let's say you have an NFT portfolio,
or even let's make it simple,
because some people don't know what NFTs are.
Let's imagine that you have a book
and the book is a bestseller and you say, you know what?
I wrote this book, but I'm gonna assign it
to ABC Publishing.
And ABC Publishing has three owners
and you're a 25% owner within the company.
Or let's just say you're a 33% owner, that's fine.
33% owner, okay?
But you don't have decisive rights over
or decision rights over what happens within the company
because you're one owner.
Everybody has to come to agreement
as to what's gonna happen.
Because you assigned all right title and interest
to the company, you essentially now no longer have
legal rights under copyright law to your own book.
Do you see that?
Does that make sense?
This is a really important issue.
Think of trademarks, think of patents,
think of owning the IP.
If you assign all right title and interest to an entity,
you lose the rights.
Now you may think to yourself, well, what do I,
I could just assign it back to myself.
Well, no, because as an owner of a business,
you have an obligation to do what's in the best interest
of the business, not you.
So if you assign it over to the business,
then all of a sudden you go, well, you know,
these rights are really important to me.
So I think I'm gonna assign them back to me.
Well, congratulations, you just violated the code
associated with running your business in the first place.
You just acted in a manner that's contrary
to being an owner of the business.
Instead, you took a brand new car that belongs
to the company and said, you know what?
I wanna own the car myself.
So I'm gonna assign it to myself.
How is that in the better interest of the company?
It's not.
So you're now in violation of the formation documents
of the very company that you created.
So all of this basically to say to you,
sometimes it's better to keep rights to yourself.
One of the pluses in keeping the rights in your own name
is that instead of assigning it to the company,
you can license it to the company.
There's an option.
So you can have a trademark and license,
give a non-exclusive license to the company
to use that trademark or that patent or that book, right?
By doing that, you remain invaluable to the company.
That means if anybody ever buys the company,
they don't have the rights to the IP, you do.
So they have to talk to you before they can do anything.
That's how you increase your value.
with IP, OK?
Keep the car in your own name.
Don't assign it to the company.
Otherwise, the company, when the company is sold,
somebody else owns the car.
Just license the car over to the company.
Now when somebody else comes over, they're going to say,
well, hold it, who owns the car?
Oh, Sean owns the car.
OK, well, if Sean owns the car, we're
going to have to talk to Sean because we
wanted our hands on that car.
It's the same thing with patents, trademarks,
and copyrights.
It's just an asset that you can't touch.
It's an intangible asset versus a tangible asset like a car,
OK?
Does that make sense?
Does that help you guys?
Do you guys understand that?
Understanding that principle will
make you invaluable to a company,
even to a company that you create.
Because if you create a company and you have a partner
and it's up to both of you to make decisions
on behalf of the company, your partner
may not agree with you on something.
And if you don't own or write title and interest to the IP,
you may have just lost your IP, even though chances
are you paid for the IP, all right?
Now another plus, I'll just give you one more thing.
Another plus in assigning it to the company
is that now it becomes a business expense.
Think about that.
So now there's a tax write-off associated
with a business expense, right?
Just like this training here that we're doing here.
You guys should be listing this as educational.
This is educational for your business.
You should be writing this off.
Talk to your accountants.
The money that you spend on a challenge,
the money that you spend on VIP,
the money that you spend on anything else that we do,
you should be writing it off.
Like that's education.
I'm in a mastermind.
Last year, I was in a mastermind.
Spent $50,000 on that.
That's an item under higher education.
So get to know how this system works.
Talk to your accountants, okay?
All right, let me cover one more thing for you.
We kind of talked about Facebook.
So I just want to make sure you guys understand
how Facebook really works.
Let me talk about the requirements for a copyright
before we close for today.
Yeah, I think I'm going to do something for you guys.
All right, so I don't know if you guys can tell,
but I really enjoy this, all right?
Like I like doing this.
I enjoy the interaction.
I like the people who are jumping in.
So what I'm going to do is I'm going to add something
for all of you for free.
I was thinking about this, but I think I'm going to do it.
So on Monday, all right?
You don't have to partake,
but I'm going to throw this in for you.
On Monday at seven o'clock,
I'm going to do a live training for all of you
on searching logos, okay?
So any of you that have companies that you're thinking,
whoa, how do I know if this logo is owned by somebody else?
Like how do I, because when you do a trademark search,
how many of you enjoyed the trademark search day
when we did that?
That helpful?
Okay, but you notice how when we search, we look for words?
So how in the world do you search for images?
See, I'll reveal that to you on Monday at seven o'clock, okay?
I'm going to do a session just on that for all of you.
That was not included.
I'm just throwing it in there
because I know a number of you have companies with logos.
So on Monday at seven o'clock, oh, you're welcome guys.
On Monday at seven o'clock, I'm going to do that for you.
Live training.
We're going to do live.
I'm going to share my screen
and you'll be able to see how exactly
to do a trademark search for logos, okay?
So we'll do that on Monday.
All right, let me cover one last thing for you
and then we will shut down and VIP will go into more detail.
But let me just explain something for you real quick.
All right, for copyrights,
there is a requirement of it to be an original work.
That means again, you can't take something
that's out there and modify it.
You can't do that.
That's not an original work.
That's considered a derivative, okay?
There has to be some kind of minimum level
of creativity to it.
It also has to be fixed.
Like it can't be this theoretical thing in your head.
Like if you come up with a story in your head,
that's not a copyright.
You can't say, hey, get out of my head.
You're violating my copyrights.
That's copyright infringement, right?
No, mine readers are not committing copyright infringement.
Just so you understand, okay?
It's the copyright is when it's fixed.
You put it in a book, now it's fixed.
That's protectable under copyright law.
So it has to be fixed.
If you have a song, it has to be recorded.
The recording is fixed.
That now is protectable.
If you have a video, it has to be recorded, right?
You can't just start dancing and then say,
oh, it's protected.
It's like, no, it has to be fixed.
Something has to be recorded.
something has to be created, okay?
And again, you don't own ideas.
It has, again, it has to be fixed.
That should alleviate a number of your questions
because I remember seeing a number of questions
about is this protectable by copyright?
Is that protectable by copyright?
Number one, it has to be original.
Number two, it has to be fixed, okay?
That level of originality, that's where people get stuck.
So I'm gonna give you an example
and it's kind of a funny example.
I think it's kind of humorous.
I actually have it on my funnel.
So do you guys remember Vanilla Ice,
the Ice Ice Baby song, right?
Yeah, right?
So the beat track to that, the original beat track,
the way it used to go was the background was
dum-dum-dum-dum-da-dum-dum,
dum-dum-dum-dum-da-dum-dum.
That's the beat that they used, right?
And what Vanilla Ice did was he changed it, apparently.
He says, well, we don't actually do
dum-dum-dum-dum-da-dum-dum,
dum-dum-dum-dum-da-dum-dum.
He actually went live with this.
Like you can watch the video.
It's absolutely hilarious.
He says, I didn't steal the music
from Queen or from David Bowie.
Like I didn't steal that from Under Pressure.
Like that's not true.
What I did was I came up with a creative work.
And the way you can tell is that my work doesn't go
dum-dum-dum-dum-da-dum-dum,
dum-dum-dum-dum-da-dum-dum.
My work is something very different.
Very, very different, guys.
Now pay attention because it's so different.
It may be too clear for you, all right?
So this is what Vanilla Ice does.
Dum-dum-dum-dum-da-dum-dum,
dum-dum-dum-dum-da-dum-dum.
He thought that was the creative work and he got sued.
And he ended up, gosh, I don't remember what,
I think he forked over like,
I don't remember how much money it was,
but it was like three or $4 million,
I think he ended up paying out of pocket.
So it was way up there.
So he didn't want to go through the court case
because he was going to lose anyway.
It's the same beat, he just added a dum.
And that's kind of appropriate
because he was kind of dumb for doing it in the first place.
So his adding a dum didn't help him, okay?
The part that he added was not appropriate.
So unfortunately the dum-dum added a dum
and therefore he ended up putting $4 million
into somebody else's pocket
so he wouldn't be liable in court.
And quite frankly,
he would have lost a lot more in a court of law
because that song made a lot of money, all right?
All right.
And it also damaged a lot of people's hairstyles.
I'm just saying, so, okay.
So with that, that is it for today.
Make sure you show up tomorrow, my friends, all right?
Tomorrow's a very important day.
We're gonna do copyright part two.
I'm going to be giving you an opportunity
that I've never given
since I started doing the Protector Idea Challenge.
It's pretty amazing.
So be sure you show up, okay?
You'll enjoy it.
Bless you, Elisa.
We see everything.
So bless all of you guys.
I'm gonna leave Larissa here.
We'll jump on at like 818.
We'll all jump in there and VIP
and we'll dig in more detail.
Now, remember in VIP,
I don't answer everybody's questions.
So just so everybody's clear,
we've gone over like 47 questions so far.
We've gone over a lot of questions.
So there's not a guarantee
that every single question is going to be answered, okay?
That would be like having an attorney in your pocket.
And I guarantee you won't get that for 290, okay?
But I will answer at least one question for every person.
So if it is a situation
where you haven't had a question answered at all,
then I'll definitely acknowledge you before other people,
okay?
But there is a kind of an agenda.
We go deeper in VIP
and I'm pretty sure everybody in VIP is having a great time.
So I'll see all of you there.
I'm gonna jump off.
Larissa, did you have a point?
Okay, I'm gonna jump off
so I can have a break before I jump into VIP.
So love you guys.
See you guys tomorrow.
Well, Peter, what time?
I've got 1008 your time right now.
Is that right?
No, 808, sorry.
Yeah, so we'll be like 818.
We'll start up in 10 minutes.
Awesome.
All right, see ya.
All right, all right.
Well, congratulations for finishing day three.
Protect Your Idea Challenge. And how are we doing, everybody? Tom, I can't answer your questions. I
know. Are you in the VIP, Tom? Yeah. Okay. We'll just take it on over and we'll see if we can get
to it. Like Peter just said, there's not any promises of hot seats because it is not legal
advice. But we all have, that's my green screen, we all have scenarios that other people might have
the same thing too. So day three, homework. What'd you get out of today? I don't remember
if he actually, I don't think he said homework, but you've got the copyright website, save the
chat. You go search around the copyrights and go live, make a post in the Facebook group and tell
us one of your biggest takeaway, just one from the day. Because remember, while you're listening
to one thing, you might be missing the next couple of sentences that somebody else got.
So go watch other people's lives. Go watch in the Facebook group what they're getting. This is
group think. This is how we learn. Some wise man said that if we can learn from the mistakes of
others, that's true wisdom. Or learn from others, not necessarily the mistakes, but from others
around us, then we don't have to learn it ourself the hard way. So. Hey, Larissa, I just also
dropped the VIP link in case any latecomers want to still join, because there are so many great
questions. And I know I missed the first two days, but I thought if anybody else still needs to get
those questions into Peter, not to wait to join VIP. No, it's not. It's the same link every day,
Tom. It's the very same link. It's good for all week. So you don't have to look for another email
today. It's the same email you initially got when you signed up for VIP. And if you do sign up
right now, just check your emails. It'll come in about a minute. Please use the same email you
registered for this challenge for. So there's no confusion, because sometimes people think they use
one and it goes to the other. And they're like, what? Because it's going to follow the same email
you started with. And check your spam and junk filters, if that is you. And someone's asking,
Teresa's asking if someone has saved the chats, you know, the notes, the chat notes,
which is great and fun. I'd like to drop things there. And I like to see what you guys are
getting. So I'm not the only one in there. But when he says things that I know you need to
onto, there's three little dots in the bottom of your chat. If you're on a mobile device,
you probably cannot save the chat. That's the way Zoom works. But if you're on a PC or a laptop,
or a Mac, you know, a desktop, then you should be able to save the chat.
Can the chats go in the guide section, please? That's at Peter's discretion. I don't save mine,
because when you save your own, if you ever have any private discussions and notes, like I'd have
to edit it. And I seriously don't have time for that. And you don't want to hear about my private
life that I share with Ray. Not that I share that much. That's just honesty. Cut that out there,
Peter, in the recording. Love you guys. She's laughing. All right, don't miss tomorrow night
day four. It's been great today. Thank you. I'll see you VIPs in a couple minutes.