 So if they, if they too young, they under 25 and under, they don't know I wrote Wanna be a baller. They don't know I got two songs on Trey Gale. They don't know me and Slim put out the first verse. That's the truth. They don't know me and I put out, didn't nobody know Flip when I was fucking with Flip. Flip came up to me and told me, you my favorite rapper. Yeah, I remember. They don't know that. I took Fat Pat to the studio way back then. Fat Pat didn't even write. He was just freestyle. You feel me? He was just freestyle. I took, I told Hawk, I say, how you can get paid rapping? Hawk say, man, I just do it for fun. I told the screw, I say, look, screw, you can start a label. You be the head, me, Pat, Key, screw. Like, man, I really ain't trying to start on label. When I was a red shop, I say, man, I'm tired of this North and South shit. I say, play me them switch house nigga tape. I listen to the tape. I say, who was the nigga with the deep voice? They say, that's Slim Doug. I said, that's the nigga I want. Bring to the studio. The thing I can say about you when I go back and look at the Houston scene, man, I had DJ Chos on here too. And I was always asking them about the older generation and the newer generation. You know what I mean? And bridging that gap. So how is it, you know, as far as being from Houston, looking back at what was and what is now, how do you feel like the music is doing? Well, first and foremost, we had to force it. Like, I'm not going to sit here and act like back in the day, a choir and a feature was the easiest thing to do. Like, I mean, it was people I reached out to try to pay. They wouldn't even take the money just because of the music we was making. We wasn't making I Didn't Can't Dine, Pop My Trunk. Yeah, typical Texas. Yeah, the music was different. The music, I was making the same music I'm making now. Ten years ago, but back then, they would look at it like it was just some party music, which it was. It was jumping. But, I mean, at the end of the day, I just seen where the world was headed. It was ahead of its time. Right. And I also made the music they make, but you got to understand, like, I'm not them and they're not me. So, they can't make my music. I can't make theirs. You feel me? I love to pocket them in. I try to stand my lane. But back then, I had to force my way into being seen and respected. You know what I'm saying? How do you think, or is there a come together? I seen Kiki did somewhere. He brought sauce on it. But how do you guys, how do y'all link that young and the older down there? See, I rock with everybody. I know. See, like, for example, when the sauce first came out, they were trying to, other people were trying to make a difference between the sauce as you see each other. But not me. Me and sauce walk will be cool. You feel what I'm saying? So, now I'm saying, I'm from the boot. You from the boot. But y'all, when you came, you rock with it. Yeah. But so, like me and B came, been done a song together way back then. You feel what I'm saying? So many artists, you know, we know, you know, I did a song, chose beat way back then. You feel what I'm saying? Yeah. When they first started. Right. So, so my thing is, it's like this, if we in this room right now and a new young artist come in the room and he say, what's up? What's up? Box out? What's up? What's up? What's up, B.S.G.? I'm the new nigga from the takeover. Now, my whole perception of him is totally different. You feel what I'm saying? Mm-hmm. But if he come in the room like, Hey, what's up, y'all? What's up? Da, da, da. I'm a new artist so and so, so be looking out for my shit. I'm trying to make some noise in the city. That's a whole different way of respect. Yeah. You feel what I'm saying? Yeah. And people be thinking, you're supposed to just automatically respect people that don't respect you because they don't be understanding the numbers. Same when you talk about the Jordan and the Jordan and the LeBron talk. So if they, if they too young, they under 25 and under, they don't know, I wrote, want to be a baller. They don't know. I got two songs on Trey Gale. They don't know. Me and Slim put out the first one. That's the truth. They don't know me. Didn't nobody know Flip when I was fucking with Flip. Flip came up to me and told me, you're my favorite rapper. Yeah, I don't know. They don't know that. I took Fat Pat to the studio way back then. Fat Pat didn't even write. He was just freestyle. You feel me? He was just freestyle. I took, I told Hawk. I say, Hawk, you can get paid rapping. Hawk say, man, I just do it for fun. I told Skru, I say, look, Skru, you can start a label. You be the head, me, Pat, Key. Skru, like, man, I really ain't trying to start on a label. When I was at Rake Shop, I said, man, I'm tired of this North and South shit. I say, play me them Switch House nigga tape. I listen to the tape. I say, who was the nigga with the deep voice? They say, that's Slim Doug. I say, that's the nigga I want. Bring to the studio. Slim come over there. Bam. We do that. Bam. Do another one. Y'all niggas went down through there. Went down through there. After that, when me and Slim went and did our business, we gonna get 50,000, 100,000,000 checks. It was after Pharrell? Or was that before Pharrell? Before Pharrell. Pharrell, yeah. That's what shot it that way. That's before Pharrell. And so, so, so, we had a show in Dallas. And I think Slim was like, man, you know, that's before we did the project. And he was a whole Switch House. He was like, man, there's about 12 of us on this show. Shit, even though it's like $2,000, we gotta bust that down. We gotta bust that down. He's like, man, I'm ready to do my home shit. So that's how we wound up doing that. When we were in the marvels in the business, we bust that down. We bust that down right on top. 50, 50. You feel me? That's, that's, that's, that's boss talk to me. It wasn't no like, oh, I'm gonna take more for this. That's boss talk for me. You feel me? Yeah, that's it. We was in the same room with Money Lipton, Steve Rifkin, you know, all these different people. And they tried to give me and Slim like a $23,000 deal right after the cash, you know, right then, the shit just didn't go down, right? But you know, it did what it did. Sometimes you gotta think about it, man. You walking in purpose. You really doing what you're supposed to be doing. Really, we think we're doing something, but it's already written. It's already written. You know what I'm saying? That's the way I think, man, because a lot of time when the nigga could have been taken out, I was in the right place at the right time. Right. It wasn't at the wrong place. We lost a lot of good people. You just named them. You named a bunch of them, man. And that's the, that's the game for me. Like when you, when you think about it, man, just being from the legacy when you came from Texas, I mean, from Louisiana over to Texas, man, Bobo just pulled it up. But when you, when you came in, like you did, man, at a young age, and then now you embraced the whole Houston thing, man, cause a lot of times they gonna thank you from Houston cause you didn't do a lot of work down there. Right. All the work down there. Right. You feel me? And I always look at it like, but you always keep it 100. Yeah. No matter what people say or what they do, I'm like a black sheep. I'm the black sheep. Cause see, like when paint juice get painted on the walls and shit around the city. You will see it used to be everybody except me. A lot. You know, a lot of times you feel the same. So I just used to look at it in the lab cause my resume, my history speed for itself and the artists and the different, the artists know.