 Let's talk about your collabs. NFT, you're in the NFT game now, which is fascinating. NFTs come out, they're good in theory, help the artist, help the artist protect their digital rights. You made a video with Snoop Dogg, what has that been like for you? I mean, I keep thinking when I was a kid on the farm where I wanted to be as an artist and I think like to have my painting then featuring Snoop Dogg's brand new track, I mean that doesn't calculate for me because that's just so wild and I mean, we all know who he is, right? It's not like it's someone unknown and it's like, and that's going to be forever with me, you know, which I think is amazing. I mean, that's a huge blessing, you know, when the guys approached me about that, I was like, oh, yeah, no, no, we're doing this, right? But at the same time, when I actually heard the track, I was like, I can't do this. I mean, it was full on, right? And I had to make a decision to either just say no or find a way that I could actually work with it. So you pushed back a little bit. I did. Yeah, I mean, it wasn't exactly what I wanted. Were they shocked when you put it? Were they like, do you know who you're pushing back to? Or do they not? Do they understand the artistic community in that way? It was more my manager that I expressed the, whoa, and it was like, jokin' cheese. It was like, I mean, how can this work? And then one of my friends suggested that my paintings are actually about what the song is about. It's just that, you know, like when I'm doing a collaboration, I mean, someone will have their point of view and it won't be aligned with what I'm thinking whatsoever. So it's an automatic resistance. And then I have to step back and understand why that resistance is there and then work with that. It's therapy. It is. I mean, it teaches me how to expand myself as an artist and how to deliver something that not necessarily is something that I would have thought of. So I mean, I actually like it. Beforehand, you know, five years ago, it'd be like, yeah, and that's never going to happen. But when it comes to me now, it's like, okay, all right. So this has come for a reason. How do we turn this to create another space in my mind? That's a healthy approach in anything, really. Yeah. I mean, we always tend to grow, right? Yeah. It's like a relationship. You know, sometimes you just have to stand back, put ego aside. Yeah. And then your Kobe Bryant jacket, working with Mr. Hamilton. Yeah, Jeff. So you did the painting first, right? So I did the painting probably about 10 days after the accident and I was approached by the city to do a big mural of Kobe and I declined it because I wasn't really feeling it. I wanted to honor Kobe and I didn't have anything in my mind or I wasn't really resonating. All I knew was just a very sad story. And I didn't know how that would portray on a massive wall, like, I mean, massive wall. Yeah, I didn't do that project. And then I think about 10 days later, I started drawing Kobe's face and I didn't even realize that's what I was doing. And then I did Gigi as well and I mean, it just kind of happened and it became a whole thing with the whole Kobe. It's a beautiful piece. Thank you. For sure. And then now it's been animated as well. Right. Which is amazing. I hope we can put this in the tease because it's like, honestly, it's such a beautiful, it grabs you. There's no question about it. It really takes you to a place. Yeah, the animator that I use, Patrick, I mean, he just got it. You know, I've used other animation people before and they haven't got what I'm trying to put forward. But this guy, Patrick, I mean, he's brilliant. You know, when someone rips your art about and tries to put it on something else, I'm always like, what's this going to end up like? But I mean, I said to him, I'd prefer your animation than the actual painting. You know, it's so beautiful. Did it require a conversation between you and the animator in order for him to, like you said, get your art and where it was coming from in order to highlight certain aspects of it? Or was it just like? I mean, a very, very quick conversation on a very windy street and with bad reception. And he said, look, I'll send you something and then you tell me what you think anyway. He sent it to me because I haven't finished it. This is just a rough draft. And I said, this is perfect. Really? I mean, it's stunning. He grabs all of it. Completely got me. Moving basketball, oh man, on the stairs and. I was so surprised. But I mean, the basketball goes up to the stairway of heaven and then Kobe's reaching out and then Kobe in the backdrop is then slam dunking the ball. I mean, it's kind of like when you're creating something from scratch, like a project, like a building, and then you see it at its final stages. It's like this place. You see it when before it was gutted and you see it when it was gutted and you see it now. I mean, it's incredible journey through everything that happened through, you know, getting electricity to everything. So once you have the piece and then does Jeff approach like, how does how does it become the point where let's put this on a jacket? Let's make a jacket out of the piece. Yeah, I mean the jacket with Jeff Hamilton. We spoke about it last year about let's work on a jacket together. We did choose another piece of artwork and I wasn't feeling it. I'm like, you know, a lot of his, you know, his fans, his friends are very sports orientated. So I wanted to do something that was related to sport. And then, you know, the Kobe piece had already been done. So anyway, so Jeff did the Kobe pain. It's incredible. I mean, it just, it's alive. There's something about that jacket that is just like, and then when you see it, the Chinese theater transferred into a hologram and it's spinning with Kobe's voice on the speakers at the Chinese theater with the painting of Kobe, animated all over the Chinese theater. It's just like the silence. Feels very ground zero in that way. It definitely takes you back. Yeah.