 So I did the beat, Pimp came in and laced the hook, but he changed some of the hook so that kind of relinquished your creative input to it because now you ain't do the beat. Pimp on the hook. Webby got a verse, Fox got a verse. You feel me? At the end of the day, they made me split the publishing or the credits with him, like he did something on the beat, but he didn't. And that was really like that was like the last straw for me. For instance, where you felt like you was a part of something that didn't, you didn't get the, you didn't get the recognition for. I never told this story. I know people say that on interviews all the time. Everybody say that. But it's time to tell it, because I know you're a Pimp C fan. Oh yeah, I'm a definitely a Pimp C fan. So they had another artist, I mean, another producer on Trio, BJ. So me and BJ, we riding from Baton Rouge to Atlanta, going to do some work, right? Now he telling me about the flies or eagle idea the whole trip. You know, he talking about the hook. It's like, yeah, man, we need to do a beat. We'll get Pimp on there, saying flies or eagle. So, okay, I get to Atlanta. And this around the time where, you know what I'm saying, my space and all that was like about to go out of the door, but it was still a thing. So BJ, he met a little something off of there. He chillin' with Hong girl. The dude was dating one of the CEO's sister at the time. Okay. So you really had no business doing that. But me thinking, I'm being silent. I'm like, man, that ain't my business. Exactly. By the time we come back home from Atlanta, he telling Turgham Mayor, yeah, man, I did that flies or eagle beat. We need to put Pimp on there. Mind you, he ain't touched the keyboard the whole time. Damn. So I did the beat. Pimp came in and laced the hook, but he changed some of the hook. So that kind of relinquished your creative input to it because now you ain't do the beat. Pimp on the hook. Webby got a verse, Fox got a verse. You feel me? At the end of the day, they made me split the publishing or the credits with him like he did something on the beat, but he didn't. And that was really like, that was like the last straw for me. And that's when I, yeah, like that's when I just, what was that conversation like though, when you, when they did that, did you talk to him about it? No, I called him a fucking liar in the, in the, in the meeting. You and who I was in that meeting? Me, Turg, Mayor, BJ. BJ was there. Yeah. I'm an honest person. So he knew that he didn't do nothing on it. But still they still roll with it. Wow. Wow. He's like, no, man, I did some more. I made the right. You I'm like, what's I say, what sound did you play if you helped make the beat and he never could come with what he contributed to the beat? So for everybody listening, when you hear flies and eagle with Pimp and Webby, that's all me. You did that whole thing. He came with the idea for the song. Yeah. But he wanted Pimp to say certain stuff and Pimp changed and wrote his own version of the, you see what I'm saying? Yeah. So like I say, that would have, that takes, that takes him out the mix now because, you know, you ain't you ain't right. You ain't do the beat. So and I just left a side with taste in my mind. I know he looked out for dude because that was the dude was dating his sister. You know, so I feel like that's probably was like keeping it in the family or whatever. But they also had on the league CD was another CD that Booster put out. And this was around a time where he stopped turning their music to trio because he realized they owed a lot of money to him. Yeah. So me and him just started doing mixtapes on the side. You know, I was producing like the whole mixtape. And so what they was doing was taking certain songs from those mixtapes that we put out, repackaging it, putting it under a dummy label and throwing it out and keeping the money. But was that so you tell me integrity wise, does that sound? No, I don't agree with that. Okay. But I am saying starting out young is tough trying to understand the business. That's all I was saying. But I understand you gonna have more skin in the game when it's your it's your your stuff, your product. Yeah, they made me they made me never want to sign to anyone again ever. That's how bad because, you know, in music, bro, you may you may only get one shot to shine or you may only get one chance to really be that person. Right. So if anybody takes your hard work or your intellectual property and they and they make more offer than you, that's never a win in your situation. No, I get it. So now I'm looking at it, my catalog, my publishing. It's not mine. It's my children. Now, you see what I'm saying? So when I'm gone, this is what's going to still pay them. And that's important to try to have all your business lined up just like you wouldn't want to pass without having life insurance. You know what I'm saying? That's right. Same way. That's like passive income. So if you got all the and especially it's easier to make money with music now because of the strings. A lot of people don't like it, but it's easier to make your money back now. So if you have, let's say you have one song pop next month, that makes all your old songs that you did just that much more relevant now because you have this one song pop and now they want to figure out, OK, well, where does God came from? Oh, he got good music. Oh, he jamming all the time. OK. So that's why it's important to own your stuff because you never know what's going to be the one. Wow. So have you do turkey mail? Do they know that you weren't good with the deal and what everything to happen? Oh, yeah, they know. Man, I don't I don't cut corners. I don't I don't have how I feel about things. Another thing that too that made me leave was you remember when they did the ghetto stars movie? Yeah. And they wanted me to play a crackhead, bro. I was fresh out the military bigger than everybody had to lay. I'm talking my in shape. You know what I'm saying? Like, what the hell am I playing a crackhead in the movie for? Like, you know what I'm saying? So that was just it was it was it was time to do. Did you ever meet Steve Bilo? I haven't. You didn't. He was down there with them, too. It was probably a different time. And that may have been after you left. Yeah, I probably was because he definitely that's how he made Pimp was through that situation down there. Yeah. Remember the day I met Pimp and Bun, you know what I'm saying? Yeah. At the time, Mel had this house, you know, where it was doing all the music at. It was really just like a house where everybody kind of hung out at. And I used to go over there. I had my equipment and stuff set up over there. And I was just making beats all day. He just he had these big old 15 and sir in Vegas that I used to love. My love, sir. But with the orange, wasn't it? Oh, yeah. They all dream on. Yeah. Yeah. Pull it off. He told me Pimp and Bun was coming over one day. And I just remember being in that room all day. I'm like, it's gonna have to make me something hard. I got that. I'm gonna let them borrow that. When they come in there, when they come in there, they're gonna hear it. They're gonna have to mess around with it. You know what I'm saying? Like they're not they're not walking up out of here without no music. Yeah, that's just all. And I just had my mind made up. Yeah, because I guess Pimp was really, really cool with them. He was like that was like family for him. He was. That's crazy, man. Cause like I said, being from Baton Rouge, how y'all got like y'all crazy down there with it, man? You got NBA Youngboy, man. You got a man. It's a bunch of niggas. Got gates. You got gates. You got Boots and Webby Fox, Lil' Phat Rest in Peace. Lil' Phat Rest in Peace. I know.