 He just be staring at me, man, and it's like, man, do it again. I'm like, I see that. I said, that's the young K.A. See, I'm gonna tell you why. It was like that with court, right? First of all, when court came, we was in his apartment that he had us in. Yeah, he told me, and hey, isn't that what? He would, he would, that's what he said. It was three n****s, bro. Me and that, me, serve, Mia, and Moby. Yeah, we on boss talk, one on one, one on one. I don't have to worry about telling you, now you need to change this, and do this, and do this, and do this, and do this. So it's like when, when I hear, when I hear something in an artist, and I see them, it's nothing about them I wanna change. Because that's what I'm looking for. Wow, well, wait a minute, now I gotta call y'all on that. Only I gotta call, call Big Court. Big Court's, now this one, it was y'all. Now see this, the young K.A. This is the young K.A. This is the young K.A. No, he said Big Court, he looked to the side, like. Big Court say, man, I came up to California, how would a Haywarder somewhere, and he said, when I would rap, man, he'd just be stirring at me, man. When P flew us out to Oakland, he had an apartment where everybody stayed in Hayward. Okay. And it was when I met Beach by the pound, I met KLC, Moby Dick, it was Mia, Servon, all of them were in an apartment. And KLC used to be so hard on me. We ended up going out there to do the Down South Hustlers. We did the song R.I.P. So a lot of people are just putting together 20-something years ago that that's me on the inside of the cover, on the CCG cover. But so we ended up recording the album out there as well. It was the first time we got to meet K.L.O. You know, we got to meet from out eating. These are the folks that was doing too short. You know, we thought we'd made it. It's up, it's up, it banks and all over. Yeah, man, isn't KLC used to like, I felt like he used to make me stay after class. Like, you know what I'm saying? He would just stand. I would be in there doing my verse and he would stand in the window and just look at me. Do it again, bro. Do it again, bro. And he would just stare at me while I'd be, and I'd be like, read my, I don't even stand in me. Like, KLC was so hard on me back then. Do you appreciate it now? I did, of course. He was trying to make me better. He was trying to pull, you know, the best out of me. Yeah, for sure. Through the window. Through the window. I said, what? He'd say, he'd just be staring at me, man. And it was like, man, do it again. I'm like, I see that. I said, that's the young K.L.O. I'm gonna tell you why this, this, this, it was like that was court, right? First of all, when court came, we was in his apartment that he had us in. Yeah, he told me, and hey, is it, he would, he would, that's what he said. It was three n****s, bro. Me and that, me, serve, me, and Moby. Okay, that's what he said. He said, he said, beats by, beats by the pound. Was there, that's him. But it was just me and Moby. It was just me and Moby. This was before the rest came, because this, this is the hotel where we started Beats by the Pound. This is where it all started. Was he there at the time when it all started? The court. In fact, court, this, this was before we came down and got all of these artists. Okay. This was when I came now, and it was only me, me, a serve, and Moby. Okay. So when we up there, we working with Elle Eaton, two-shot producer, who was up, there was a couple of producers that we worked with. I know Elle Eaton was one, K.L.O. So court was a product that P bought in. Okay, yeah. He said that. So it wasn't on me. So now the reason why I was so hard on court was, was that one of the guys, he was the one that was in a group with him. Yeah, yeah. He talked about it. The manager. No, he said he wanted a guy, the one that didn't like Master P. He didn't like Master P. No, he didn't like P. No, he said he didn't like him because he was trying to get him. He wanted to advance. He thought he would, and court was like, this is an opportunity, so they was having issues about that. But see, the thing about what court was, was that court from Kansas. Yeah. Kansas City, Missouri. Kansas City, Missouri. Let me get that straight. Let me get that. You know about it. Right, right, right. So when I take in somebody, first of all, they're from where I'm from. Where are you from? So, but when court came in, it changed. He came in to P. So my thing is, as a matter of fact, outside of Big Ad, and the one that was with True, court was like the first one that P bought in. In. That's what he said. Outside of what he had and what I had. Yeah. So when P bought him in, I'm just trying to figure out why I'm not gonna make this work because court was dope, though. But his sound was different. But his sound and his lingo was different. That's, that is something else. This is different. That's what that's what Masterpiece saw. Right. But you know, it was to the point like when court came in as a producer, certain things by me being from New Orleans, I didn't have to tell Slim because it's just the New Orleans in them. Correct. It's just gonna come natural. So I'm just trying to fix a way to make it work with me and court. Now I knew I was holding on. Now you think about this. I was holding on to anything. But listen, though. It made him better, though. But think about it. It was nothing. It was to make him better. But think. Yeah, we on Boss Talk 101. 101.