 I know already, when I heard this right here, you know what I'm saying, when I heard that right there, I knew already, y'all, y'all, you niggas, look, you niggas is different. So what is the thing when I hear the music, I say, well, how does the process, because it seemed like you reaching back and getting something from the old and kind of metal to the new. Yeah, no, like, like this song right here, like this music, like he was playing when I was riding around with him, like, he used to just drive around through the city. That's crazy. I used to ask him to just ride, like, you know what I'm saying, listen to music. He used to have a system in the car and Pollock and Drop It was definitely one of them songs that was playing and tripping. That was a hot song. That Intrepid or that green car you had. The Jeep. Yo, that Jeep, yo. That's how I went down. Man, hey, when I heard it, I said, man, that boy got something right there, man. Hey, and it seemed like making that beat. Oh, I'm talking about where I got the sample. Like I reached back for the sample like back then, but I made the beat out here. Yeah, yeah. It was me and D-Mack. D-Mack. I talked to him night before last night. They supposed to be on Sunday. Yeah. So how did you and D-Mack come up with that? Was your in college or something? Yeah, we was in college. I heard about it. See, I'm researching like crazy. I want to know. So D-Mack, can you, what was the process for y'all working together and how does that work? Oh, man, I just met him at first. He was rapping on my beats. I met him at Digital University out here in Dallas. I was out there like with Max, I think, just up there just making beats. Y'all have made it. I really, people know about you talking about going up to H-Town, pulling girls out of different situations where you can put the spotlight on them because of the work ethic that you've had and the way that people have recognized you guys already. So, I mean, Sergeant B, Sergeant J, that's a household name. Niggas know, especially now. And we popping them off right here first. So, one last thing y'all did a interview together. No, we ain't never do that. That's what I'm talking about. Boss talk 101. We wanted to break the mold on everything. Don't get it twisted. You know, I'm a little arrogant, nigga. So, you do beats, too, right? I used to. You used to. So, you just deal with straight artist development and recording and engineering mixing and all. So, when did you switch from just being a rapper to doing all of that? Well, from rapping, I really started with the DJ and I started throwing parties. So, I was like, well, instead of just rapping and waiting to get a show, why don't I just throw my own show? Yeah. And I performed at my own show. So, I used to bring artists down and I would open up for them. All in one. Yeah. So, I get the hold, though, and then I just break the artists off with they look, you know, 1,000 or 2,000 and we going home with 6,7000. If you have a job, you're a black man with a job. Like, you're attracted to a lot of women. That's rare. Yes. So, that's something you got to deal with. You got to deal with that. You just getting started, baby. Yeah, man. Yeah, you locking in early, too? Yeah. I'm good. Like, I ain't even worried about that. But you seem so chill. You a sneaky dude, ain't you? I think he's sneaky. That nigga sneaky. I think he's sneaky. That's what I'm talking about. Sgt. Villa ain't going to let me down. He going to tell me the truth. You sneaking around doing something. And so, how did she, how did she, because DJ Juice was on here and he told me how that process went with him. And I got to get through this fast. But how did the process go with you and Smitty? How did you, did you just do it up on the caption that, hey, man, you say we want to work with her? Nah, like, I met Smitty through my brother. Okay. My brother was telling me I need to work with her, but I wasn't really paying attention to her because I was, I already had like a female I was working with that I was like just really focused on. So I was like, okay, whatever. You know what I'm saying? Because he already had brought other females to me. Okay. He was like, you need to work with Smitty. I was like, okay, whatever. You know what I'm saying? So like, she booked a session with me and that's how Let Me See It came about. Wow. She booked a session with me because Juice told her she need to work with me. With you. And my brother was telling her she need to work with me also. That thing happened. Well, the site for the girls, they came up with it. They sell. They came up with it. And then they came to me to record it. And then I put the order together, you know, mixed them out to record it and had to work with all seven of those girls. Really? And they all from different places. Yeah, in East Texas. But in East Texas, but from different, you know, I'm from East Texas. So long view kicking it with Mount Pleasant, kicking it with Paris, kicking it. That's a deal. That's a stretch. Mm-hmm. So when I seen that, I'm like, okay, somebody had to organize this. How did they come up with putting themselves together like that? Or who picked who would be on the song? It was those girls. So it was already done. When they came to me, they was like, we trying to do a site for, we trying to, we picking you to record it. I was like, okay, you know, come up, come holler at me. So they came to the studio in half. Like I was already working with two of the girls. You working with which one? I was working with Smitty and Journey. I was already recording. Smitty and Journey. But it's another one told me she coming to see you Sunday. Oh, really? The rest of the girls are coming? No, it was her name. She my cousin, actually. She hit me up. I'm like, damn, that's crazy. But he didn't know she was right. Man, I didn't. And I don't want to mess her name up. She was the second one, maybe? You can't remember, can you? Yeah, it's hard to remember. Yeah, we getting old. I'm getting old. I'm hard. All of them was hard. But she just hit me up. And I listened to some of my music, too. Bria. Okay. Bria, that's my little Kenfolk. Man, shout out Bria, man. I gotta shout out. She did a thing, you know. Like I said, how do you work with any of them? Because you do artist development. Yeah. So when you working with them in the studio and stuff, you try to give them some game on how to do this and how it can come across better? Yes. The one with that listen. Yeah, I know it's hard. It's hard because they think, hey, I got it. Some are easy to work with. Some are hard to work with. Not those girls. Because those girls, they was all good. Easy to work with. But like, if some artists, they got a big head. And you are.