 Rapper to come out of New York. The hardest to me ever. Yeah, but it's your opinion. I mean, I gotta see, I gotta go with Wayne because with Wayne took it at, my favorite is Soldier Slim and then Wayne or whatever. For why it's just like, when he took it at the flows, like Wayne is on a whole other level. Yeah, we on boss talk one on one, one on one. Yeah, we gonna talk. So let's talk about, let me put you on spot for a minute. Who the hardest rapper to come out of New York? The hardest to me ever. Yeah, but it's your opinion. I mean, I gotta see, I gotta go with Wayne because with Wayne took it at, my favorite is Soldier Slim and then Wayne or whatever. For why it's just like, when he took it at the flows, like Wayne is on a whole other level. So you gotta like, every head must bow, every tongue must confess like Wayne to the world. I feel like people, I love Jay-Z, Jay-Z and Tupac, my favorite two rappers, but I gotta say Wayne took that shit to a whole other level. He mastered his style. So for him being from New Orleans, and I feel like one day on there in the airport or something after I'm big or whatever, but I gotta say Wayne. And I know the city loves Soldier Slim. So the king of New Orleans, forever Soldier Slim because he's so 504. But if I had to say the greatest to ever do it, not just in New Orleans, Louisiana and just all the time in hip hop, man, I'm gonna say Wayne because the way he evolved and took the mixtapes and the flows and the influence he had and everything, I'm gonna give it to Ouija F. Baby. The Wayne called him. That's hard, man. You know, man, when you think about that whole era, I always said Wayne, he hard when it comes to the music, but Baby and Slim hard when it comes to the business. Definitely. That I just felt like people be just, you know, kinda, we would say Lil Wayne, but that would have never been no Lil Wayne without the right infrastructure. You know what I mean? Of course. The right foundation. And I think Birdman, I think a lot of time don't get the credit he deserves for his because of the business behind the whole brand. I'm talking about from early on where people were saying he missing this, they got the money doing this, but it take a hard, it take a different type of dude to be able to even stand in that gap when they come down to leadership. But this the thing about that too, everybody was talking about the shady business of the music executives. A lot of those guys been having shady stuff when they don't talk about Morris Levy, all the shit he did or whatever, a linen chest, like it was white dudes that was doing shit, but they always talk about the black music executives. But like I said, Birdman and Slim was learning that shit on the fly. Nobody in teaching. They didn't go to school for this shit. They just was learning from the streets trial and error. But to say that they did this shit with no college education, them dudes went a long way. And of course, great coaching is just like Phil Jackson, a costumato with Tyson. Wayne them had the talent, but you still needed those great executives to be able to give them that direction and understanding. So I feel like that's why they're so important. That's why Birdman went on live and he was saying, man, I'm the best to ever do this shit. Like who did it better than us? Like name somebody. He said, yeah, I studied sugar night J Prince and on Puffy and people like easy, but I learned what they did and I did it better and nobody had a long run. That's true. Like from, from even before, cash money had to deal seven years before that, when it was doing it with pimp dad and UNLV and slew other artists to the high boys ever to when you and them left and Wayne and the big time he had to hold it down to Nikki and Drake to right now. So of course you got to give it to them. And I heard your button them saying, no, we're going to give it to Rockefeller. We're going to give the Dev Jam. First of all, Dev Jam was more of a, they operated more like a major cause they had murder income to them. They had rough riders, Rockefeller and a whole lot of the labels. They was cash money was more like a subsidiary label under a major. So they used to, for them to do what they did, Rockefeller and I love Rockefeller. They didn't have a long run in them. Cash money is a whole different monster and they don't want to give them that credit cause they're from the South. So they can always be like, I don't country niggas. We can't get in the way smart. Y'all don't want to give us deals. Y'all don't want to give us labels. We made our own. I just, I thank God for you. Breaking that down like that. Like we know what y'all trying to do. And we ain't going for it. And to hear you say it, it just compliments the way I talk. You saying exactly, don't it? It's the same as that conversation. I'm going to say this too. To even Tyler Perry, cause he from here. Well, he from uptown with Birdman from, he went to Cohen, the same school that like people like Le Yard went to from UNIV. Anyway, when you think about Spike Lee, kind of look down on Tyler Perry. Oh, he making these comb type plays and these country people making them look stupid and all that making black people look bad. This dude Tyler Perry telling his story from the South, from the way he says, you telling your stories with Crooklyn and everything from your story, going from being from Brooklyn. Now you went to more house Tyler didn't graduate, but he still learned all this stuff and did it better. You just got a hundred million out house built in Douglasville, Georgia. He came a long way. He got his own studio. So all this stuff that they thought these dudes was dumb. We don't know nothing, but look what Tyler Perry did. So every time they think that these down South boys, country and stupid and bunkers, we keep showing them we not. But maybe they're gonna catch on to it and Tyler Perry understand that most of the black people living in the South and most of their ancestors came from there and went up there or whatever. That's right. We still had to deal with it. That's right. And we had to get it out the mud and we had to make a way, you know, we turned there into diamonds. Man, that's hard. Diamonds and dirt. No, no, I love it, man, you know, and I agree. So yeah, Spike Lee had his run and that was cool. But he's supposed to commend that younger brother that's coming behind him and doing what he doing anyway. Because that's what we do a lot of times. We forget about the fact that God pays away with that new generation. He did it with Joshua and Moses, I'm a believer. So at the end of the day, I see how Moses had his time. Then Joshua came and you know, and so on and so on. But the next generation was always stronger. The younger generation carries the new vision. And we got to respect it. And I think about, I think I don't know, I might be saying the name wrong, Zola Hurston or something like that. She was a poet back in the day and he was a poet, but he was more like in Harlem and stuff. But they seen the world different. They used to kind of get into it a lot, but she was telling her story from a Southern woman and he was telling the story of living more in New York saying we're with WB the boy as he doing the NAACP in Harlem and Bucket T. Washington down here in Alabama. So the way we deal with the white people and the way we had to deal with it in that time, it was different. So he was like, you bound down to the white man. But he like, I gotta, we looking at it different cause we're in two different parts of the world. So that's how it be with us in the South, even with the music. The way they see it, the way we see it is different. It don't mean as wrong as just we from two different parts of the world and we just do it different. Yeah, we on boss talk one on one, one on one. Yeah, we gon talk.