 And that's what I, that's something because when you think about it, it's just, I look at what you're saying and there has to be some kind of way something linked you to the education of understanding how not to get in a bad deal. Sometimes it's just some spirit, you know, and people may think that I can't try this with Lothan fire because if I'm finding out a problem, they think that. Because they come to me, I don't come to me at all. I want to talk about, let's get into the music because I don't know. When did you start finding your love for music? I know that because they did music, so you always heard the music because they always had the song system. But when did you say, okay, I don't want to jump in the song system thing. I want to be an artist. I want to do, I want to be a DJ. That's what I want to do. How old were you when you realized that? All right, artists of my age, we started out around sound system. We never know about going to the studio to record a song and writing a professional melody or anything. But from a band, in at the dance, I hold the mic, I sing a DJ, a chant, I say a poem, I run a joke on everything. Professional recording started out about 1994. When we got to the studio, we do audition, we meet prominent producers, who people say are big and female, they are powerful and try to sing them. If you say, oh, they might have liked or advised to record a song with us. We get denied a lot, a few places then we went and they said, we don't want your style of singing. Until what was fine, we sell 50 in a lane and we get opportunity. And we record good songs and people like it and we start. What label you recorded with first? The first label was a label called Sapphire. Sapphire record, that was 1998. Did they treat you right on the record deal? Yeah. Did you feel good about it still to this day? Yeah, yeah. Those first people were Irish. It's like a brother, a friend of mine, father was the boss. So he treat me like a son. Did you run into a bad record deal anywhere? No, I don't know. I mostly work for me. Okay, independent? Yeah. Okay. And most of the distribution and recording companies in Jamaica, you have to be sharp to get good deals because even sometime I think they did themself, checking themself. And that's something because when you think about it, it's just, I look at what you're saying. And there has to be some kind of way, something linked you to the education of understanding how not to get in a bad deal. Sometime it's just some spirit, you know, and people may think that I can't try this with Lothan fire. Because if I'm finding out a problem, they think that. Yeah. So they come to me, I read. I don't come to me at all. I got it. I got it. And that's because you mean business. Yeah, I'm roughing. I like that. Because we need rougher people because so many people cry. They're for me and our man to deal. Because there's beer. Half a man, not the world. So you have to be masculine to the max. You have to keep the baritone, you know? That's true. I saw somewhere where it said that you recorded your first song for budget. Well, in them time, I was doing the work with Sapphire while I was at Bujo. So I don't record in that budget, but my first release was with Sapphire. OK, OK. So what was the first song that you did? You remember it? Oh, a song like that song even got played on the radio. And I said, All the HACI to me beer. Missy said I'm not here. I don't may have got you on them and they use them tears, you know? I'm going to get into it right now. Why do you get inspiration for all your songs? It's just day to day and now we think because we think country to whatever the system come with. Because we say everything where the system come with this can help.