 What they gonna do with me now? I'm still a twerk of the town. I'm getting the sisters, I'm hooking them down. A new episode of Talk of the Town, today we have a special guest. One of the hottest producers in the city right now. Right? Would you, would you claim the crown or no? No, no, no, of course not. There's a lot of, there's a lot of great, great producers out there. I said one of the hottest, no? Yeah, yeah, yeah, for sure. But then you said the crown, so. I'm not accepting the award. Oh, okay. Fine. I do. Thank you. So this is your first official on camera interview? Yes. Are you one of those producers that be wanting to be like low key behind the scenes? Um, no, but also at the same time I don't really care to be. In the spotlight. Yeah. Yeah. I've got a lot of producers, don't be trying to show their face and stuff. No, no, I'm not like one of those like mysterious people. I definitely am not like a big picture taker, but my actual like personality. I'm not really on no mysterious shit. Too much, too much. All right. So I'm actually a couple of questions to say the first thing that comes to mind. Most used curse word. Like for me? Yeah. Falk probably. Favorite artist currently. Favorite artist currently? Currently, like today. I don't have any mood change, but like today. I like sexy rad this summer. She dropped a lot of really good stuff. Her do? Okay. Um, what song do you listen to for motivation? Um, a lot, but today was self controlled by NBA young boy. That's a super motivational one right there. All right. I'm best way from Brooklyn. Best thing about your hometown. Um, it's in New York City. What's the best thing about Brooklyn? Come on. Don't do that. Um, yeah, I know. But the best thing about it, I don't know. I guess the, um, the diversity, I would say. Diversity? Yeah. Okay. Um, favorite app on your phone? Um, Twitter or X. X, wait. Um, if you could ask the government one thing, what would it be? If I could ask just the overall government. Overall government one thing, what would it be? Um, I don't really, I don't really care about the government. So like, I don't know who killed JFK. I don't know who killed Martin Luther King. Who killed, who killed everybody? Everybody, right? Um, at what age do you want to retire? Um, I don't know. I'm kind of open to working until I die. Oh. Yeah. Okay. First I heard that. Um, I mean, like, you know, towards the end of life, it'll be more like chilled, supervisional work, not like labor, you know? Oh yeah, for sure, for sure. Are you worried about like your ears and stuff? Meaning that you listen to music all day? Or you don't feel like? Um, I don't listen to, um, I don't play music very loud in the studio. And I do wear earplugs in, in really loud studios sometimes. Okay, I understand. Yeah, cause I seen, um, I was, when I interviewed Wayne or whatever, he was like, Wayne in a car, he don't play music cause he doesn't hear music all day. Well, yes. Yeah, I still listen to music. I just listened to mostly, like if I'm working all day on rap music, I'll listen to mostly like not rap music in the headphones. Type shit, type shit. All right, so growing up in Brooklyn, walk us through, how was that? Um, well, okay, so an important, um, like asterisks, hold on. So an important asterisk is that I'm from Park Slope, Brooklyn, which, you know, this is mostly in New York City. Yeah. It's like, it's like a Long Island town in the middle of actual Brooklyn. So it's, uh, like everybody kind of knows each other. It's like, obviously a bunch of white people and it's almost like an alternate universe from what a lot of other people think of as Brooklyn. Um, that being said, I grew up there in, you know, in the nineties when just New York City in general was a lot different. But, uh, I mean, like I said, you know, when you, when you're from New York City, like I went to school in the Bronx and then I went to school in Manhattan. So I had friends in all different parts of Brooklyn. So my upbringing was all over the city, you know, and I think that was what was interesting about it is you would go to different parts of the city for different things, different friends, whatever, you know, so you get to absorb a lot of, a lot of different cultures, walks of life, things like that. Right. So you traveling from the Bronx, the city now, when did you get into producing? Um, I got into producing probably like 10 years ago. Um, no, no, no, no. I was, yeah, I was, I was in college. Um, I was 20, I'm 33 now. So I was probably like 22. Yeah. I mean, a big thing, a big thing. I know it's very, very shocking. People say I have like Andy Milanakis disease or whatever. But, um, um, I didn't get into making music very late, which I always try to use the kind of, uh, encourage like a lot of the people I produce with a lot of them will be like, oh, I'm 23 and like nothing's happened yet. And I was like, man, I literally didn't even make a beat until I was like 21 or 22 years old. So with, you know, with rapping, there's definitely, uh, more of like a youth matters. Not saying that you can't make it as an old rapper, but it matters a lot more. But with stuff like producing, unless you want to be like a lifestyle producer or whatever, you can, if you, if you have a good sense of what you're doing, if people like what you do, they'll like what you do. So it doesn't really matter for producing for what you're producing. Or why you got the hunger push yourself when you're younger, basically? Yeah. I would say like, don't, I wouldn't like, I would avoid following in my footsteps. Like probably start like earlier than that. It was the circumstances of life that made me start music late. But I think my point is like age does matter because the younger you are, the more naturally inclined you're going to be towards things that are happening now and how they affect sounds in music and other things in pop culture. But I think there are people I'd like to think of myself as one of those people that just has a natural ear towards those things. And I try to, I try to look for the things that would be timeless or the things that would kind of relate to any era. And I think, you know, if you have your own lane and kind of way of approaching that, then people will like it. Right. So before producing, what was you into before? I worked at a fish fry and I sold weed. Okay. So, okay. So like you went to college though? Yeah, I went to college for psychology. I mean, another thing is I'm half Asian, so I have a Chinese father. So I definitely had to go to college. Wait, wait, wait. So was he not Jack and the producer thing or like? No, he wasn't like super, you know, it wasn't like the movies where it's like, they're so against it. Like he was pretty indifferent to it until I started making money from it. And he's like, okay, that's cool. So what was your first placement ever? My first placement was French Montana poison off the mac and cheese appetizer EP. Harry Fraud got me that. Shouts to Harry Fraud. He got me a lot of my first big placements. And yeah, it was, it was a Lana Del Rey ultra violent sample. And I always have loved Lana. So I was glad that that could be my first sample flip that actually placed. Okay. Okay. How are you feeling about samples though? Be honest. So I think that like when people say samples, a lot of people just think of like that typical drill sample formula where you take a famous sample and you don't really do too much work on it. I think that is obviously I have the same opinion as everyone else. I think people need to start being a little more creative instead of trying to recreate old songs. I mean, you know, I'm obviously, we're all guilty of contributing to the wave while it was going crazy, but sampling itself is still my favorite form of producing. Like real sampling, you know, if you go to any album in any genre, like literally any genre, there's sampling in it. And some, and my idea of sampling, not always, but like purist sampling, I guess, is the concept of taking a sound and like reappropriate, reappropriating it in a way that like either you don't recognize it from before or it's like giving off a different vibe than the original. Because you've like rearranged the elements to kind of make it sound to become a new thing, you know. So you were sampling then, that was the first big placement as a sample. Yeah, well it was only sampling at that point really. You said it was only sampling at that point? It wasn't like, you know, there weren't people like running, like it's not everyone wasn't running around like using serum and like yeah there was like some, I'm not saying people weren't using synths, but in that era, like the backpack rap era, you know, when Wale, and all those people were coming, it was heavy, you know, currency whiz, those were like some of my other earlier placements, they were all super sample heavy. And then the types of non-sample beats were like, you know, like Weed'em Boys or like Ain't Worried About Nothing, like those type of really like... Not too much. Yeah, yeah, like Simple Trap Beats. They didn't have like these insane... Samples. Yeah, loops and melodies, yeah, like loop makers weren't a thing yet, you know. So I mean, so you've been producing from then to now, do you feel like your job I guess is a little bit easier now with all the softwares or do you make it like, or does it make it like everybody's trying to produce now? So it's hard to like... What you think? Every era like presents its new challenges. Obviously like, yeah, when software gets easier to use, it becomes a more successful, I mean accessible path. So you get a lot more producers of course. I still do think that making beats and sending it into the abyss, hoping that it'll land is still pretty much the same as playing the lottery and the people that'll like consistently get work are people that know how to get into rooms with artists and like make songs with them. So that's not really something that'll get easier via software. That's going to be... Okay. That's a personal thing. Okay, okay, okay. So getting your first placement, did you know that you definitely want to do that or was that first placement like, yeah, I'm not to go hard with this shit? No, yeah, I was working really hard before that. I was just really bad. So I wasn't even that good then. To be honest, I just did a good sample flip and Harry did the drums and they were obviously really good. Okay, but how you met Harry though? Selling weed. Okay. Yeah. All right. So you meet Harry, you get the placement. Are you like locked in at this point? Do you feel like you're better now? What now? At that time, yeah. Yeah, I was definitely feeling myself. I thought I was good, but I definitely knew that my strengths were still in like finding samples and flipping them in crazy ways. And my drums still had a long way to go. It definitely wasn't something that came natural. Definitely back then it was, took a lot more skill to make your drums actually hit because you didn't have like all these libraries and kits of like perfect sounding drums and fills and like little things that you could just do really easily now. That's part of obviously like the advancement of software, making it easier. But it did, you know, it did force you to kind of learn the basics of mixing and just sonics and like the relation of sonics in general. So what do you feel like makes a good song? What makes a good song when people like it? But that's mad general. I mean it's about as general as an answer as the question was. No, like what makes a good song? People say the beat is like the most important thing. Some people say the artist is the most important. But the thing is for both of those, you know, we both can give plenty examples of like. A good beat, bad artist. Yeah, exactly. Like we can give a good, good examples of great songs because of the beat. We can have great songs because of the artist. I think that like the consistent thing between all of them is that, you know, people like it. Okay. All right. So tell us some of the other placements that you have. I know you got like CMAS, you got like mad placements. Yeah, I mean a lot. I mean it's from... Some of the big ones. I mean, yeah, from the backpack era, definitely like Currency, Wiz, Wale, French Montana. Those were all, thanks to Harry Fraud, he gave me a lot of opportunities to co-produce with G Herbo as well. And then a lot of placements came during the SoundCloud era where I was a pretty, pretty unknown producer just because that was like a really, just a vast landscape of artists and producers for real. But because they all made so much music, a lot of producers had opportunities to get a lot of placements and I was definitely one of them. I did a lot of Scheme Asks album, the Stokely album. That's definitely like one of my, one of my prouder accomplishments. Yeah, just because making that album, we worked together. Like we like when we like locked in on like great conversation and went outside together and wilded out. Like it was like a real like working on something. And I'm not the only person that worked on the project, but I'm just saying for my offerings too. Yeah, yeah, for sure. So does that make it better when you know the artist and it makes it easier to like get their vibes? Oh, of course, always. Yeah, 100%. So how do you balance that? I guess that's why they have to come to you to lock in. How do you balance like getting to know the artist versus like just making a pact for someone? I mean it really is like circumstance. Sometimes you'll be lucky enough to be able to lock in with someone in person. But if someone asks you to send a pack, you should still take advantage of the opportunity. You know, shouldn't be like, I mean, I actually do know some people that are like that are like stand on their shit. And they're like, yo, I'm only going to lock in with them in person. And I, and I fuck with that. I do. I feel like I feel like you need to have a lot of leverage as a producer to do that. For sure. Yes. But, you know, it's it's different things for different people, for sure. The most recent one you have those ice spikes. I feel like that's the biggest, most recent one I've seen. Yeah, for sure. So how did that link up? How did that happen? So you've been to Riot or like y'all connected later? I met Riot and Ice Spice together. Like they both came to my studio. And it was it was, you know, at the time it was just as simple as like, oh, I like your music. Oh, I like your beats. Y'all have a studio. Oh, I actually like have a producer too. Can I bring him? Yeah, of course. And then they came through and, you know, we cut a couple records, started a couple records, like nothing that ever got finished. But we all got along like really well. And especially me and Riot, because obviously just because we're both producers, like we would we would cook up a lot. And we would just go to sessions together, like TJ cook up sessions or like Fabio, I think, like B Love. This was this was this was like a few months before the munch video shoot. And I don't know, Riot and Ice are just super, like real genuine people. And, you know, they they blew up crazy and Riot reached out to me to work on the work on the project. So, you know, we cooked a butterfly coup. Yeah, that's my thing. So so did you see the superstar in her at that time? Or you still like filled it up? Yeah, there was there was a funny, I mean, yo, I'm not going to act like I knew she was going to be the biggest thing. On earth, like I don't try to measure like how big I just see like, oh, wow, this person has potential to go as far as you know what I'm saying. As far as they want the limit on it, but they got potential to go far. Yeah, but there was a like when I met her, she asked me like what she should charge for features. And I was like, you shouldn't really do features because like when you blow up, you're going to really regret having a bunch of random people like have videos with you. So, so yeah, I would say I definitely definitely believed in her for sure. Yeah, both of them. I mean, I was really intrigued by the producer rapper duo like that they were like, I wouldn't know. I don't know if duo is the right word, but just the fact that they were a team and like did everything together and created records together like I was really like inspired by that for sure. I mean, you locked in with a couple artists like that, right? But you did the ski mask, you went to 16. Yeah, for sure. For sure. Me and Jay Critch were locked in for a long time. Me and Smoke Perp were locked in for a long time. So, of course, getting into producing, of course, the creative side of it is all great. But the business side, how did you learn the business side of it all? A lot of agreements. You just learn over time really. It starts out with like you not understanding anything like what publishing or masters are. And then like you get frustrated because you're stupid and you feel like you're being taken advantage of, which you probably are, but you don't even know how. So you just get angry. And then like, you know, I always say this. The first thing that any producer should get as a lawyer before a manager, definitely before a deal, get a lawyer because, you know, lawyers will help talk you through situations and things like that. But yeah, it just takes experience for sure. Was there any records that you like didn't get what you deserve off of it or like missed out on shit? Yeah, a lot of them. Yeah, a lot of them. I mean, I mean, just like any other industry, but I mean, it definitely rings true in this one a lot. You get what you negotiate for. You don't necessarily get what you deserve always. Right, right, right. So that's why you want to have a good lawyer and a good relationship with the people you work with. Right. So I mean, how did you get with your team? I feel like off record, you got police solid. Off record really started with me just running a really small office studio in downtown Manhattan. And I would just pretty much engineer people for free. I wouldn't even, I wouldn't even show them my beats. I would just engineer them for free. Like, I don't know if people here are familiar with Uno the activist, but he was in the SoundCloud era, but I engineered like half his album for no money and it was terrible, painful work. And it was literally just so I can get like a shout out or something like that. But it was stuff like that, letting people use my studio for free all the time. And eventually I would start charging people. I would come through again on my beats, you know, just building things slowly like that. And then business got pretty good because I had, you know, all those SoundCloud era artists coming through. And so I got employees, got a staff, but my mentality was that I wanted to hire engineers that were also producers. So they could get placements also and we could kind of build a collective and use the studio business to kind of make us bread so we wouldn't be like starving, waiting for placement check to placement check. And then, you know, our most first guy was Matt, Matt Marvin. And then soon Eli what the fuck came through, Zuko came through, Ayo Lucas, Hardhead, Emerald, like a lot of the guys. And we have a ton of other producers too that fuck with us. But it was just natural, like having studios, everyone kind of shares an interest in working all the time. So yeah, it was just kind of came together naturally like that. So you didn't really have the, I feel like now y'all do other stuff in the studio too, right? Yeah, we'll do like Twitch Streamings, we'll do some Twitch Streaming sometimes. We'll do DJing like I brought CDJs. So a bunch of us got into DJing because it's a good way to, you know, Yeah, just perform your music and be outside kind of engaging in the other side of things instead of just being in the studio. So we'll practice in the studio as well. So I mean, so the lawyer you have, I guess it's more of an off record lawyer now, right? Some people are coming to you and gaining all these resources and knowledge or outsource. Like, sorry, say that question one more time. Okay, so now you're building a staff, you're teaching them as you go, of course. Is the lawyer now for the brand off record? No, some people have different lawyers. I encourage everyone to get the lawyer that they want. Yeah, I mean, some of us share a lawyer, but I would never like. You have to. Yeah, no, I would never be like you need to use this lawyer if you want to. But some of them don't send out packs. They be like, yo, come to off record, let's lock in and cook up and shit. For sure. And I feel like a lot of, I want to say the younger artists, drill artists definitely like going there. Yeah, yeah, for sure. I mean, it's definitely been, we've had everybody over there. And I think more than the space, I think it's just like they like working with the, Yeah, with the producers there for sure. Y'all super hands on. So, how is that like working with Augusta drill kids and people try to say, you know, they're problematic. Well, I mean, when you work with so many different people, it's like everyone's their own person. So it's like some, some artists are like super polite and like can just tell they're just like, discipline good people. And then some people are bouncing off the wall crazy and everything in between, you know. So I think when you look at something from the outside, especially through the media, then you're going to make like some general assumption about, but you know, obviously the music is rowdy and disrespectful. That's like pretty intentional across the board. But yeah, all the artists are, you know, like some artists have personalities. Some artists have zero personality. I will not going to name names, of course. So what are your thoughts on drill music right now though? Drill music right now. Yeah. How are you feeling about it? I was talking to someone about this yesterday. It's obviously like the whole looming like hip hop is dead or drill is dead question. And I honestly just feel like people panic in like moments of silence, like when there's not a ton of amazing stuff going on, then then like people just like will just jump to assuming the worst. Like is hip hop dead? Like it's the first year that we haven't had a number one hit. It's like, okay, I think a lot of places in pop culture, movies, podcasting, they're just trying to figure out what the next step is. You know what I'm saying? Like, oh, there was a time in the 2010s where we were like, yo, music sucks. Like is all are all we going to have Drake? Like what happens after Drake? You know what I'm saying? Like it's like DJ mustard Drake. Like what is what's they're going to be? And then Extentacion came and made like the answer to Drake. And it doesn't matter if you like SoundCloud music. It was the answer to like super refined, perfect Drake style music. And it gave like a whole new life and it bled into all different parts of pop culture. You know what I'm saying? So I think just in general pop culture is trying to figure out what the next step is. And that's fine. Like people are supposed to get frustrated and upset with how things are because that's when they actually like... Come up with some shit? Yeah, yeah, get on the grind and come up with some shit. Do you feel like for the, I guess, genre to evolve, do you feel like it's more of a producer and artist collaboration? Oh yeah, it's both sides have responsibility. I think producers, I think, and I've posted about this before. I think producers need to take responsibility for things just in general. I think producers like to victimize themselves like, oh, I'm just here making beats. And like, I don't know. It's like you actually can have power as a producer. You can find an artist and work with them from the ground and influence them and actually be able to get them to get on different kinds of beats or talk about different kinds of things. But obviously, if you're going to sit in the comfort of your own home, make beats and email them, then you're not really going to have much of a say in shaping culture. And that being said, obviously it still happens. For example, I think Axl had never been in the studio before. He was just sending beats and he definitely changed the culture. No question. With the help of an artist? Yeah, of course. But I'm saying more as a general thing that I've noticed is producers do need to get more creative, like not just the artist, because if artists just keep getting the same beat over and over again, it's going to be hard for them to... Be creative for it. Right. Word. So how did you get to tag me? That's my brother, Vana. That's my brother, Vana, who me and him go back to like 2015 now. He was a part of Glossgang, who are the artists from Crown Heights, like the older friends of 2605 that really got me into producing like heavily, just like my own brand. Because before I was pretty much kind of working like under Harry Fraud, like kind of helping him out. I hadn't really made my own identity in Glossgang, definitely. I attribute to like my first artist that I... Not my first, but like some of the first artists that I ever really worked with and got my, you know, that start from. So Vana, he was just on camera at some point and said it, and I just ripped it from the camera and I just used it since then. Damn shit, that's fire. So let me... A whole bunch of debates about what producers got fire tags. Who you feel like got some fire tags? I don't know now. We know what the answer to that is. Yeah, but like, of course you, but like, who else you think? Nah, that's not talking about me. I'm talking about Eli what the fuck, man. That's the best tag. That's the tag that... That's just the best tag. I love Casco Bain's tag. I don't like tags really. So like, I don't mean to... Unless they're a good tag. Like Metro Boomin's tag. I don't put my tags on a lot of songs because I don't... I don't think it adds to the drop or the anticipation every time, so I don't think it needs to be there. Every time. Yeah. Wow, that's honest. Some niggas be like, my tag is going. I don't give a fuck. No, I mean, I take pride in like my beats, like the tag. I mean, I love the tag, but just like I said, tags in general. It got to be at a certain point. More than that, I think it just has to be like a tag that goes viral in itself. Like, my tag is A-Low on the beat. It's not like saying a viral thing. It's just, look, bro is on the beat. You know? Yeah. So it's like... But when it's like, and this beat from Cash, not from YouTube, it's like telling a little story or, you know, if young Metro don't trust you, you know what I'm saying? Like, that's what makes a tag like necessary on a song. Like, when the Metro tag drops, if young Metro don't trust you, you're going to shoot you beautiful mornin', it's like such an important part of that record, you know? But if it was just like Metro boomin' on the beat, it would have been like, we didn't need that there. You know what I'm saying? Yeah. So, yeah, I mean, but how do you feel about collabs? Because some people feel like when you collaborate with that producer, both y'all tags need to be on it. That's another thing too. Like, Jesus Christ. That should be a million, bro. That should be a million. Like, I made a beat with Eli War and Turtle, and Turtle put all of our tags back to back on it, and it's just like, there's no intro to the beat. It's just like, allow on the beat, turtle, war, Eli. And then the beat drops. So it's like completely erases the entire, but then sometimes like, like if it's going to be some ignorant ass song, like sometimes it's funny when it's like mad tags on it, you know, but it's circumstantial for sure. Circumstantial for sure. All right, but so this is the 50th year of hip-hop. Shit. You got the 50 cent shirt on right now. I do. So how you feeling about it being 50 years of hip-hop? How do I feel about it being 50 years of hip-hop? Yeah, like, especially being like, you know, you've got to work with so many artists, and you're over 10 years in right now. Yeah, I mean, I think the evolution of rap, hip-hop, has definitely been like one of the more interesting stories in music across any genre of any time period, really. And you know, I just think that it does mark the fact that it's only gotten more popular and bigger, you know, unlike most other genres, is interesting to see what the next few years brings on. But I don't have a non-conventional answer for it. Yeah, yeah. You're just going with the flow. How do you feel like producers could, I guess, contribute more to the evolution of hip-hop? I know you say lacking in the studio for sure. Yeah, like, yeah, I feel like basically what we had covered before, I think it's producer's job to want to push the boundaries and want to influence artists and, you know, have that kind of influence. Not be like a social media influencer, but to influence kind of behind the scenes, the actual process of music, you know. Type of shit. Okay. What advice would you give an upcoming producer that's working their way up right now? Make a lot of beats and give a lot of beats away for free. Yeah. Okay. In the beginning. In the beginning, word. How do you feel about the whole Jersey Club shit? Is that annoying to you? I like to dance, so I like it. Okay. I mean, I think, yeah, I think it's cool. So no words for it. And then like, what are you feeling about like artists? I feel like especially working in drill, we see a lot of artists go to jail so young, or they pass so young. How are you feeling about like the drill artists? Are you talking to them when they come to the studio? Yeah. I mean, I, you know, we could do as much as we could, but, you know. Yeah, of course. I mean, I definitely, you know, it's a balance when you're a creative, because you do want to have a good influence. And obviously, like I do that where I can for sure, but also at the same time, like your job is to facilitate an artist's like creative process. Creative process, yeah. It's not really to be like their therapist or their teacher or like some holier than thou. Kind of person. Yeah. And I think that when you do that, when you assume that position, like you can mess up the dynamic of being a producer and an artist, which is what you're there to do. I think when you become friends with an artist, you have responsibilities as friends to be good influences to each other. And it's important to just to motivate your friends, you know. I talk to Kate Flock, you know. I still get to talk to him, you'll check up on him. And I think, yeah, it's important to just, you know, to just try to stay positive. Like to what you said earlier about drill artists blowing up and getting caught up and stuff, it's definitely a sad reality of blowing up in New York. It's like once you catch some traction in New York, people are going to be on your fucking dick. And it is something that it's like, I do warn people like logically like beast, like move really, really different once you blow up. You know? Because people definitely watch. It's definitely a, it's a crazy city like that for sure. I don't think there's any other city like it that's like that. It's the worst. Yeah. I don't think there's any city like it. Do you want to leave New York? No, I would leave. I could leave if I wanted to. I know. You've got so much going on here. I mean, I just, I just think New York is the best city. Like, you know, if I, you know, if I get rich, rich one day, then I'll have another crib, you know, love to have multiple properties. Do you go to Cali, Miami, or something like that? No. Overseas? No, like Long Island. Oh. I just think I really want to stay in the town. They be like, some people feel like they want to leave. I could just go on vacation. Yeah. But you don't feel like you would live nowhere else. I could. Who knows? It's, it's like, um, it's insane for me to build so many networks of people. Like I feel like I have so many networks of people just in New York. Right. You know, having like a real friend group in another place and then a real friend group over here would be hard to maintain. Hard to work. I'm big on, I'm big on friendship. I like friends. Does your family like know about some of your big placements or because it's hip hop, they're not really like. Yeah. No, no, they're, they're. Yeah. My parents are very, very loving involved parents. So I don't know about, but like they're, yeah. Do they be like, you should work with such and such? No, no, they're not that, no, they're not like, this person's blowing up. But when I get like a placement or a plaque or something like that, they'll, they'll Google who it is or. Oh, that's right. That's right. Yeah. All right. So some people would have found you. How could they tune in? Um, you can find me at off record because that is my studio. Um, and, uh, my Instagram is alauny, um, but more importantly, you can find me on a bunch of dope records coming out soon. Oh, can we know my one? Huh? Can we know my one on the way? Oh, y'all working that out. Um, the only thing I can, the only one I can say right now is, um, the video for nobody, the little TJ, nobody videos dropping on Tuesday. So definitely tune in for that. And then, um, to six air, I don't know when this is airing. So to six AR is dropping tonight though. And the current date is August 17th. So August 18th. We know you on that to six AR drops. Yeah, heavy, heavy off record on that too. So. Thanks.