very first song that I produced for my solo project. I was called Brim Al Mar, and I have a music video for that out, and that was one of the like while we could get into the music video, but it was just, you know, the the biggest project, like manifestation of my artistic vision to that point. So that in itself was incredible. But, um, Omar brim it brim. The word means it's kind of a play on words, Um, but it means the salt spray hitting the rocks or surf. But surf sounds funny. Salt spray sounds more romantic, and then al Mar is in Spanish of the sea, and the melody itself is inspired by a Norwegian folk song. And the video kind of goes into life and death and multiple iterations. And then also this folk, uh, mythology. Or what is it called folk tale about the Normans, which are these in Nordic mythology? These three sisters, who weave the threads of past, present and future and so you'll see that in the video. It's kind of abstract, and you know, I love things to be mysterious, and but you see the Normans weaving the threads of life and you see me going through this iteration of me in a white dress on top of a cliff. Then I fall into the water and then I emerges this badass like mo heart, Um, all in black with this black Harding or fiddle by the fire. So it's kind of incorporate a lot of the elements. That's amazing. So I mean, there's a lot of people out there who don't have a music video and who do have music. So in that light, like, did you dream up this vision of yourself in this music video? How did it come to be? Was it step by step, where you're working with a producer? Well, I had met this, dear friend, very creative individual Arman Mateen in New York. And I knew that this song really needed a music video. I knew that. That's what I wanted before I released it. And so I told him about my idea. I'm a photographer. I'm not I don't think in moving pictures, really. I think in frames snapshots like composition. And so I told him what my idea was, and then he really dove deep into it. So he is this incredible creative individual. He works on big commercial projects in New York, but this he took on as a personal project. So he did a lot of research. He discovered the Normans. You know, I didn't even know they existed. And, uh, kind of wove all these different story threads. And I was like, Wow, how are we ever going to be able to do this like this is crazy. I mean, I don't have that much money to pull this off the songs only so long, right? Yeah, like, wow, we need like CG. But he does like CG. And after effect, it was like, Well, maybe she didn't actually take a cliff dive. Well, I'll get into that. I mean, if we want to. Depends on how long we want to make this interview. So then he presented it to Alice Alice Miller, who's an incredible cinematographer in New York. And she apparently has been obsessed with the Normans, and she was a little girl, So she's like, Yes, I want to do this. And she took it on as a personal project as well. And we the three of us were very interested in creating a piece of art. So sometimes when people really take on an idea and they really take ownership of it, a lot more beauty can come out of it. Because it's not just the dollar sign. It's not the, you know, the the commercial product. It's the art vision, the passion. Yeah, And so then everyone we hired for the team, everyone, you know, we had a budget, but like everyone wasn't getting like their commercial rates. But everyone was pulling like 200% of their energy like we had this incredible assistant photographer. We had incredible lighting designer. Part of the shoot was done under water, and we did. We used black light cannons and they basically spent, like, the whole day setting up this this part of the shoot that you can see in the video that's underwater with, like, a scrim underwater and these black light cannons and this whole thing, I mean, it was incredible. The piece that they didn't do, they didn't heat the pool. And it was May and I was supposed to fall into the pool backwards from a diving board into the water. And I'm like, Okay, calm face calm face like. No, I think it's going to be great. It's going to be wonderful. But, you know, there's fear involved, Like wearing this long dress all these layers. We added more fabric to the dress because we went shopping for fabrics that would glow with black light cannon. And, you know, and I was envisioning how would be in the water. Like I had bought a cheap throwaway violin on eBay for like, for $30. So the violin was going to go into the water, and I was envisioning, you know, me twirling in the water and, like, you know, playing violin In this whole romantic, beautiful scene. The reality is so I fall into the water backwards and I'm I'm sure my face probably had some kind of grimace on it because how can you not? And then I fall in and I'm like, trying to swim up and my dress wrapped around my legs and I couldn't I could not swim. I couldn't move. I could not do that. I don't know why I couldn't do that. Why can't I do that? And so we have slow motion footage of the lighting designer diving in and like diving rescued me, pulled me to the surface and all his water came out of my nose. My ears. It was like I had waterboarded. Also the other piece side of makeup artist. Incredible. Just just toss. And she had done this whole water waterproof makeup Look on me. That was also very important because if you fall into water with regular makeup, it's going to wash off or you'll have raccoon eyes. So my makeup did not budge one bit, So thanks to her and then she was like, You can't do that again. I was like, um yeah, I could do it again But she was like, You know, if you don't feel good like, we can stop this right now and I was like, No, no, I'm going to do it. And so then we didn't We didn't. I think I did that sequence a couple more times. Maybe. I'm not sure. Um, but one of the best shots that we did was I was holding onto the edge of the pool because I didn't really want to fall in again. And with my dress with the violin and the water kind of waving it back and forth and kind of creating this like abstract texture, which you can see in the the physical CD. I did a beautiful print of that. That particular shot inside? Yeah, Um, but that was that was a pretty incredible experience. It was a three day shoot, and the end result is something that looks like we spent about 20 grand on it. Yes, but, you know, we just pulled our resources and it was just something that I was feeling so passionate about. And I just knew I needed to invest whatever I could in it, because I really, truly believe that if you if you think big and if you act big, then even if you're not quite there yet you will get there. And also thinking of it as a legacy like this is a forever project. So I didn't want to put out anything less than top top top quality top caliber. And I also didn't want to do a Kickstarter campaign for it because I would prefer, you know that it just it's something that I'm funding. I'm not asking people for money. I think sometimes those can be successful, but sometimes it's sort of a more begging thing, and it's kind of like losing control because you're not. You don't control over the budget. You can't really plan accordingly. Yeah, but I think it's important to yeah, really put out the best quality work that you can because it will be for forever. I mean, we don't know really what the future holds, but I'm thinking it'll live forever.