 In the Cash Money situation, they had the artist with the talent and they had the ownership that was willing to do what it took to make it work, because they saw a big picture for themselves. Yeah, we on Boss Talk 101, 101, yeah, we gon' talk. Well, Birdman, I talked to him on the phone, and the one thing that he credit you for is his work ethic in studio. Yeah. That's something I didn't even see coming. I believe me, we done interviewed at Chironies and all kinds of stuff at Peaches. She mentioned you in the interview, everybody we talked to, we get in our UGK moment, okay? But that was something that kinda caught me off guard. You know, when he said that, I knew y'all had ties, but just those type of ties early on, how would you, how would, how does that make you feel when you hear him say something like that? Well, I mean, look, I've been able to build a lot of relationships with a lot of people. Okay. And one thing that you hear universally is that everybody met the same dude, right? Yeah. You're not gon' hear people say they met a different version of Bumbi. All of them gon' say pretty much the same thing about me if you ask them the same question. You know what I'm sayin'? And that's one thing I can be proud of, you know? I've also always tried to give people a chance. You know what I'm sayin'? A lot of people came to me at the earliest stages of their career. You know what I'm sayin'? Really tryin' to get it, you know? And I saw a lot of promise in a lot of people, you know? Sometimes they ain't had the right people around them. Yeah. In the Cash Money situation, they had the artist with the talent and they had the ownership that was willing to do what it took to make it work, because they saw a big picture for themselves. You know what I'm sayin'? And so with that, it was just about really nurturing the talent, which typically don't happen on an independent label because they don't have the money and the time. Cash Money had a different situation in that. They had the money, they had the time to work on the talent and build the talent up to the level that they needed him to be at. And so instead of just consistently just tryin' to put music out, music out, music out initially, they put a little somethin' out, then they was like, okay, let's work on that a little bit. You know, because there was the BGs, right? And then as they brought in Juvenile, okay, brought in Turk, okay, hold up, maybe we can make this work. Now we got the High Boys, okay? I think some of these dudes, like Juvenile was always gonna be a solo artist, because he had a career before the High Boys. But now I was like, okay, Juven really on fire. Let's get that solo album goin' for Juvenile right now. At the same time, we need to start workin' on Wayne. Wow. You can start workin' on Wayne. You know what I'm sayin'? While they workin' on Wayne, they realizing BG, BG's ready too. You know what I'm sayin'? Let's be prepared for that. Now they understand the system and the industry. Now we can, shit, if we know how to sell music. We know how to get talent. We know how to work with talent. We know how to make the right music and sell the music. Shit, let's start doin' some R&B. You know what I'm sayin'? Let's fuck with reggae, all right? Let's touch all of this type of shit. Once a hustler understands the hustle and master it, the world is in his palms. And that's really what happened. But it was always about workin' with the talent and allowing the talent to build itself up to the right place. Not just takin' somebody raw and just throwin' them out to the wolves. Wow. When you talk about branching off to different, especially genres and stuff like that, I think about when we were, we play UGK all the time. And recently I was, I heard a song with Sean Kingston. Hot slap, post it on the block, gotta get it tied up, and I'm never gon' stop, now that gangsta. Yeah. Gangsta. And I'm like, I love that beat. I love that. I even said, I said, Pimp wasn't on it, Pimp was in prison at that time when this happened? Yeah, that was my solo album. That was his solo album. That was my solo album. So yeah, the Pimp was locked up. So if you listen to the song, you hear me sayin' Free Pimp. The song. Right, right. So what I, what I wanted to know is that if he was out, do you think he would have jumped on that? He would have done something like that? Because when I think about Pimp and the type of songs that I've heard, it's always, always so Texas, so South, so everything. So when we, so I was in a group called PA Militia, and Pimp was in a group with Mitchell Queen and they were the original version of UGK. We combined those two groups and created a group called 4BM, with four black ministers. And the whole thing about it was makin' reggae music over, I mean makin' gangsta music over reggae music over root reggae. So the original version to tell me of Cocaine in the Back of the Ride is about Marley Song. But Rita wouldn't clear it, because we were talkin' about Cocaine, and she said, Bob, I don't like Cocaine. She said, you want to do weed, and you're like, you want to do weed in the car, do weed in the car, but Bob, I don't like Cocaine, so you can't use Bob's music to represent Cocaine. I get it. I didn't even know that. I didn't either. Yeah, but that was the whole thing of us creating like a whole album of music, you know, gangsta street music, but built around reggae, because we were big reggae, and I'm a huge Steele Pulse fan, you know what I'm sayin'? Steele Pulse was actually a, you know, reggae, and especially dancehall, had a very strong movement in Houston from like, I would say 90 to about 94. Right, it was very, very dominant in the city of Houston, the hottest club in the city at the time. We were makin' music, it was called Jamaica, Jamaica, right, and that was the best club in the city. And you would go there and they'd play reggae music all night, and then they would do a rap set for like 45 minutes to an hour, and then get right back to the reggae. But we liked it. It was a cool vibe. It was chill. They had pool tables in there, you know, and women dance different to reggae music, Jamaican women's specific. That's right, that's right. So we had no problem with that. Oh man. But it was a cool place for everybody to congregate, you know. And so now, Jamaican music and Jamaican culture has always been prevalent in Houston. And it still is now to me because even, I think, they have a reggae concert that they do every year. Ever since I've been here, and I've been in the States 21 years, and I've always heard everybody from Dallas, who I know Jamaican-wise, Caribbean-wise, go to Houston and pack this place out for this concert, and it comes once a year, and it's always like the biggest thing. Right. There's a lot of Jamaican influence in the city of Houston, too. Yeah, for sure. It's always been represented in the city of Houston, and Houstonians know, right? Yeah. Especially people from my generation. They know. Like, you saw real Jamaicans in the club, not like people that grew dread. Jamaican. No, no, not just people that grew dread. They grew dread. Like real rosters. You know what I'm saying? Yeah, I want to ask you, I want to go back to the, I want to go back to the Cash Money days and talk about Manny Fresh because I seen he had said one time when I was watching him away a while back, it was like, I think it was a policeman or your friends. He called you to get your approval, to use a sample of that for, I think it was back that thing up, wasn't it? I'm not sure. It was something from that area. It was something from that area. I can't remember. I like to comment about that. I thought that was respect, man. I'm like, man, he brought really so respect and early on in the music. Well, Manny and I had a very good relationship, right? You know, I met Manny initially. We all met together. We had a big show at USL that was too short. It was Ron C. Yeah, Ron C. This was back when Manny was with Gregory D. Yeah, Gregory D. It was on the show. And I think Baby and Slim had UNLV at the time, right? And so we all met at that show. That's when they actually approached Manny about doing some music with them. So when I first started to go to New Orleans to meet with Baby and Slim, it would be me, Slim, Baby, Manny and BG as a kid, right? That's who would pull up the peaches. We'd all be in Manny and Paula back there. You know what I'm saying? That's hard, man.