rod and Okay, Seymour had, it started out as a private joke, the word, the word. We had not sharpened it down to any kind of concept yet. And it was, we used to smoke weed with this girl and her parents. And he sold all. Yeah, yeah. And it was like, it was like one of those, with a roundhog day type thing. Because it was always the same exact shit. Every time we were up there, it was like the same conversation. And her father was a one-on-video artist. We would say, her name was Elizabeth. She was a schoolmate of ours. But he is nicknamed for her. He was D.T. They were R.G.T. He was D.T. Roll another joint. And it was just always the same shit. Always the same shit. So we would, we would nickname, you know, when we spoke about her, we would speak in code and call her Seymour. You know what I'm saying? We want to Seymour that. Because it's Seymour's shit, right? And we decided that we were going to do this like, you know, do a little graffiti campaign and spread Seymour around, like it was actually a religion. And we wrote Seymour for you. Dot, dot, dot, think, you know, just like drawing stuff out there. And we spread it around. And then we just started elaborating on it. Seymour as an alternative to God religion this day, you know. And the stuff was kind of sometimes offensive, but, you know, really care. Once again, you know, people not just painting their names. Seymour broke away from, I was an actual graffiti artist. You shit. Jean-Michel wasn't. He was not part of graffiti culture. He wasn't a graffiti artist. He didn't talk like one, look like one. He didn't explain it. He was like, he was drawing, drawing the artist. So, so we broke away from that tag name tagging and haunted like the more like Greek Roman kind of graffiti, which was to make social commentators what they pulled upon. That's what the Greeks in the Romans were. You know, and then right into the cement, you know, they carved, you know, Julius Caesar's an asshole, you know, what happened? More like that. I mean, not exactly that, but something more like that. We were like, you know, pointing stuff out. And as opposed to writing, bomb on and whatever, Jean made it wanted to write. At that point, it's important. Seymour was important in the fact that we, you know, from a graffiti artist, you know, going into more like a, you know, a more literate kind of graffiti. You know, doing my thing, he was doing his thing. So, him writing Seymour was dead. That was, that was, that was ceilings. I mean, we had a conference where we said set out to do, because we wanted to just, to have a successful hype campaign and at the same time write what we felt, you know. And we had done it. And it was time to get on. If you're going to be darn sure, no, okay, yeah, it's, it's something that I probably lack a little bit in my approach. I tend to be more focused on the message and the work. And not the selling or the, you know, the mingling which is the, you know, hard world per se. I might be almost a little bit standoff sometimes towards that. So that get, that can cause a certain, I mean, you know, I ain't quitting my day job any time soon. But I mean, you know, it's a, it's a skill and a talent, you know, to be able to, to, to, you know, maneuver like that with, you know, like, to sell your work. You know, I mean, I'm not afraid to sell it. It's just that, you know, I could be a little bit abrasive sometimes, I guess, or sometimes, what I'm doing with, you know, what I'm saying could, could put people off, which is, you know, essentially, I don't mean, you know, that's, that to me, that's effective. If you piss somebody off, when you do something, you wait, that's effective, you know, you get some kind of response. What it's not effective is, you know, is no response. You know, then there's nothing to happen. So, you know, there's nothing wrong with wanting to, to, to sell your work and to, to hustle. That's another reason why collaboration is important, because not everybody is a good salesperson, and you may need to work with someone who can do it for you. I mean, it's just the way life is, you know, I don't want to be known as the guy who knew Vaska, because that's, that's, that's just not enough. I'm sorry. It's actually, you know, it's kind of, demeaning to some degree, because I've done a lot of stuff on my own. I have my own thing with two separate human beings. We did something a long time ago. He's dead. He's dead 20, 60 years, 27 years. It's, you know, I've done a lot of things. I did music during the 80s. I, you know, I did a bunch of, of, of, altars being out of wood during the 90s. And I'm doing what I'm doing now, and I'm doing it with all my, you know, with all my heart and fervor. So I, you know, I've contributed, I think, to urban, street, or art, culture, music, whatever. And I want to be, that's what I want to be remembered for. I mean, yeah, same old, sure. Yeah, that was a long time ago, you know. That's just one of my, one of my, the, the fault same old music, you know, it's not directed at anybody in particular, it's talking about the same old general that it's up, it's become like a brain. People all say, and it's funny, because some people don't even really get it. So that's cool, because it's cool to like it, you know, without really fully understanding it. But when I write it, still, I still, because coming from the same place, it's just a little more refined, you know. Millennials prefer selfies. This guy maybe, sure.