Should Hit Records ALWAYS Be the Goal?!, Selling Beats Online, & EPIC Christmas Gift

So that's why there's like a two and a half percent chance that Meryl Streep's actually my grandmother. Welcome back to another episode of the One More Time Show. Gems, Takes, and Bullshit. Uh appreciate y'all tuning in week in and week out. Uh on today's episode, we are going to kind of just deep dive into a conversation we had recently with uh Grammy nominee. He's up for songwriter of the year. Current nominee. Yeah, exactly. Current nominee. Like this year's Grammys. This guy is Look at that clear. Yeah. He's in the running. He's literally been making hit after hit after hit this year. He's worked for many years. but yeah, yeah. His name's Teron Thomas. Um, super, super dope guy. Uh obviously incredibly talented, um, hence the Grammy nomination. Um, what Lizzo, Bieber, Usher, Nikki, Cardi, Beyonce, Beyonce. I mean, I it's too many. Name anyone. Yeah, name name anyone with a hit record. And he, Doja Cat. I mean, meh, I mean, just it the list goes on and on.

Um, but basically, he talked about like his goal as a songwriter. Every single time that he goes into the studio, his goal, right? It's not his expectation, but his goal is to make a hit record every single fucking time. He basically is like, why am I leaving my house with my wife and children to get up and go to the studio to settle for anything less? To not make a hit. To not to not make a smash. Like, what the fuck are we doing? Like he's very vocal about this this stance. Yeah, we thought this was very interesting and potentially somewhat controversial, I think. Oh, for sure. When it comes to, you know, because we're talking about art here. Yeah. Which is a very personal, vulnerable kind of thing. But he's, you know, trying to be the champion of this shit. You know what I mean? And it's supposed to like, you know, it's not inherently competitive art, but he kind of views it that way. And he's very good at it. Yeah, and exactly. I think that's the key here, right?

It's like this guy's really fucking good at art. So like I think we need to at least listen to what he's talking about and try and understand what his perspective is. And I think if I'm understanding the conversation that we had with him recently, um, and I think by the time this episode comes out, his interview will be coming out in the next week or two, uh, from when this drops. But so basically, like his his whole thing is like, look, if you're an artist, he he thinks you're lying to yourself if you're not making art with the intention of the most people around the world hearing it. He he did acknowledge that there are hobbyists that just like doing what they're doing. Because I, you know, it is hard to say that someone is the best at art. I don't necessarily agree with that way that you said that. Uh I just think even the hobbyists, if they were to fuck around and catch a hit, would they be hobbyists anymore, right? Like, I don't know. I still, no. Like, what if someone is just so expressive of themselves and never even shows their art to anyone, but it fulfills them? Okay, he's talking about people releasing it to the public. If you're putting your shit on, he's talking about the art business.

If you're putting your shit on streaming platforms, yes, versus just sending your friend a private MP3, right? Sending it to your mom, having it on your hard drive, if you're submitting it to a distribution company to upload to the masses your intention and your goal, whether you want to fucking admit it or not, this is this is his words, and I'm I'm agreeing a hundred percent, but with him with what he said, is that like you're fucking lying. I'm agreeing 50%. You're fucking lying, bro. I'm not. What? So what's the goal? Like, you think it you're you think your goal is like, oh, if it could have a billion people listen to it or 500 million, you think anyone would choose the 500 million? What if a hundred people listen to my song and I change their lives and my art and my vulnerability connected with them and meant something to them. Would you want a thousand of those? Not necessarily. Would you choose a hundred? I'm not it doesn't some people aren't choosing, is my point. That's his point is is that you're choosing with your mindset, bro. You're going into the studio thinking, what his whole thing was like, what, we're gonna go into the studio and say, like, oh, like, you know, let's not have the pressure of making a hit.

Like, let's just make a vibey record. He was like, don't fucking use those words around. me. I think some people do that. And my point is that's okay. It's okay if you want to do that. Sure, but you know what his point was? That that's some pussy, you don't want to fail your ego's fragile shit, bro. And I'm just saying what he said. I don't necessarily fully agree with it a little bit there. No, bro. No, no, no, no, no. Did he say pussy? I mean, I think he did. I don't know. Okay, he might not have called y'all pussies, but like, I just did. No, but I think I think it's true, man. I think, you know, let's be honest with ourselves. Artists and creatives oftentimes are sensitive, right? They they do have ego, they do have, you know, they feel some type of way about their art, right? And I think there is a lot of pressure of, and I empathize with this, so I want to make sure y'all understand. I do empathize with this. You're creating something that is very is very special to you, it's very personal to you, it's vulnerable. You're being vulnerable, making it in the first place. So putting it out to the world is a it's a it's it's an act of courage. Like, I do want to like make sure y'all understand that I get that, right?

Versus sounding like the big bad fucking whatever. But I do think that if we're also being honest with ourselves, that we do sometimes like give ourselves slack and like give ourselves a break that like, oh, because I I wasn't really trying to make a hit and then it didn't end up being a hit, that's okay. Versus his point was if you go in and try and make a hit and then you don't, a lot of people feel like they're failing, and then they get all discouraged and it like beats them up, right? I don't agree with like wanting to get really big and then it doesn't happen, and then you flip-flop. I'm saying I think there's one percent of people out there that maybe that truly isn't their goal. And maybe to them So what do you think their goal would be? I think to them it's less courageous to hire a Grammy nominated songwriter and get in the studio with a with a huge mega producer and just make something that is guaranteed to get as many people to I don't think that is as courageous. I think that's like just that's just gonna work, right? That's like a business decision almost, you know.

Yeah, but bro, like I'm interrupting this podcast with a very special announcement. February 9th, here in Atlanta, Georgia, at the center stage vinyl. We are putting on our very first concert experience featuring headliners Suave and Ben Riley with support by Will Hill and Cam the Artisan, DJ set by Dos Diaz, hosted by Manny Akeo, all six of which we've interviewed on this podcast. Tickets are available now at omtpresents.com. Go cop yours today, and now back to the episode. This is why we thought this was interesting, It's super, It's super interesting because I do like just I can't remember, I'm so pissed. I can't remember exactly how he phrased it, but he basically did say something to the effect of like, if you like if he said fuck the money. So we're not even talking about because yes, I agree that some people want to be in this to reach the masses so that they can see the paychecks that come with reaching the masses, right? But he was like, fuck that. Let's just talk about the art. Let's just talk about you're making this, you're putting it out because you want people to hear it. Let's just start with the baseline there.

You want people to hear it. So why would you not want the most people to hear it? He doesn't really, he can't, you can't give him an answer that's gonna satisfy him. You you're lying, is what he he literally did say something about like you're lying. Yeah, yeah. I remember those that word being very like, you know, it was something that stuck with me after the episode. Your ears perked up. Yeah, well, no, because it was it was very, it was it was strong, right? It was strong. I mean, he was because I kind of felt it. I was like, maybe, maybe they are lying to themselves, like if they don't admit that that's their goal, right? And because I do think that it is something where if you don't reach the masses or you don't reach some whatever number you think you have in your head, whatever that is, right? You are gonna look like you're not succeeding, right? And that that is gonna affect you mentally. That is gonna put a toll on you, whatever. But bro, I mean, I'm just saying, what if you're putting it out and you want people to hear it? Why wouldn't you? Because even to your point, let's say you're making music because you think it can help people, right? Why wouldn't you want to help the most people? Why wouldn't you want to help the most people?

If your goal is helping people, right? Why wouldn't you want to help the most people? if your goal is to make people dance, why wouldn't you want the most people to dance? If your goal is to make people happy, why wouldn't you want to make the most people happy? Like, whatever your goal is for putting out the art, you have your own reasons. I don't want to tell you what your reasons should be. But why would you limit yourself? Why would you want to limit the reach? It didn't make sense to him, and it really doesn't make sense to me. So I'm trying, I mean, like, seriously, if you have a good No, I I just do think there's one percent of artists that are like that, but also those people don't listen to our podcast. So we're not talking to them right now. If you're listening to this podcast, you want your shit to be heard, so let's address them. Real shit that's ever been said on the pod. Yeah, I mean, honestly, though, I mean, I assume y'all are tapped in, you are tuned in because you are trying to understand like how to further your your music careers. Like, that's the majority, if not all of you guys that listen to, especially these audio only episodes of the podcast. Yes.

Um, I mean, shit, the interviews too, bro. Um, but but yeah, I just thought, like, for me, bro, I think the goal should be. And I and I don't, and and his point was also this. So, like, listen the fuck up to this, because this was very important. His goal was like, whatever a hit is for you and your sound. He did mention very specifically not wanting to like tell you what words to say, even. Yeah, or what world to live in, meaning like he doesn't want to just make a pop hit. He thinks that there's like underground style hits, meaning, like, if you want to be the biggest, like of like hyper pop or like whatever, right? Clearly, that's never gonna be as big as a pop, quote unquote hit. But he was like, why wouldn't we want to make the biggest song? He was like, Why would you ever get in the studio and be like, Yeah, I don't think I want to make this song that's I don't think my song I'll make tonight should be bigger than the last one, bro. Like, why would you not want to make a bigger song? And he thinks there's a hit version of every song. And of you, yeah.

Of course, a superstar version of every artist. Yeah. And there's a hit version of every song. Exactly. And so his goal always is to work with the artists, take what their vision is, understand his skill set, right? Because he's very fucking to your point, he's very good at what he does. He studies this shit. He wasn't giving us much of the sauce, but he's mentioned something about like math of hit records and shit. And I was like trying to start doing calculus of like what do all hit records like what math do all hit records use? You know what I mean? They repeat stuff. Yeah, exactly. But you know, he just basically talked about like, um, there is a hit version of every song, and I feel like his goal always as a songwriter is to help bring that out alongside the artist, right? So he'll lock in with someone and he'll be like, hey, you know, what are you trying to do? Like, fuck the label that might have wanted me to get in with you. Fuck the producer that might have wanted me to get in with you, right? Like you and I here in the studio, what are you trying to do?

Because I'm here for you. Like, I got off my couch with my kids and my wife and my home to work with you to support you, like to get the best song from you together. Like, how do we do that? Right. And so I mean, I just I think the goal should always be, bro, to have the hit. It's a lot of pressure. So much pressure, bro. To like and that's why people don't do it. Yeah. That's why people don't, and that's what he was saying, bro. But he doesn't feel it that he doesn't look at it that way. Because he knows you're not going to. Oh, but like as, as the one of the two of us that have been in more by far more sessions. Thousands more. I'll tell you this. Like, when that is the goal and when that is the mindset, it can create like a lot of anxiety in the room. And I find that people's best songs kind of a lot of times, not 100% of the time, and everyone's brain works different. Maybe he is better at doing it his way. But when the pressure's off and when you're having fun and you're just making some shit that you think sounds good, but then actually putting in the work and trying to craft it and making it the best version of that. To me, like a the majority of the artists I've worked with, I'd say work better that way because they're scared to like even pick a beat to start writing to because oh, I don't know if that beats a hit.

They're scared to like even write a hook, because the concept is dog water or this fucking this doesn't repeat stuff enough. This doesn't a rhyme, or like this melody is garbage. Um, and and you kind of like end up making nothing and you get frustrated with yourself. So, how do you combat that? Uh, I combat it with I've been in a lot of sessions with you and artists, and like it's no shade to you know some of the sessions I've been in, and I've been in a lot of sessions without you with other artists and shit. And it's like sometimes I do leave the session being like, maybe they should have actually put some pressure. Maybe they should have turned it up a notch. Maybe they should be thinking a little bit more critically about the elements that he brought to the table about what makes a good song, concept, lyrics, like, you know, math and beats and like repetition and catchiness and all these things, right? That like make people remember certain songs more than others, right? I mean, I don't know. I just feel like sometimes, especially independent artists, like I don't know that they treat it as much of a like a like a job and a profession, and like this is what the best of the best do to get the best of the best songs out. Like, I don't know.

Is it okay if you have an entire session where you don't end up making anything because you kept trying and shooting for that and you fell short every time. Because that is the worst feeling for artists. They hate that. They they get really sad. They'll text me like, just really sad we didn't fucking make anything last time, bro. Like, it just sucks. Like, now I gotta come in and make something. And I don't know, like sometimes like fucking around, bro, freestyling. I just I have I find more success that way. So I I it's gotta boil down to the person sometimes, right? I mean, maybe, but I also feel like he at least, and I don't know how he really approaches it with the artist, because once again, maybe it's because he is like he is working with the biggest of the big who understand like this is how they're gonna continue to like stay at the top, or like maybe they're almost at the top, and this is what's gonna like take them like over the finish line, you know what I mean, to the top type of deal. But like, I think they're just very good at separating that that whole pressure, quote unquote, of like wanting and and like striving to make a hit with the expectations around we're probably not going to every time. I think that's the key.

And I don't think that's easy. Accepting that. Exactly. Yeah. Because he made it clear he doesn't go in and make a hit every time. He's not a hundred, he's not batting a thousand. No. And I I know that analogy now. Yeah, you said a hundred. Exactly. He's not shooting a hundred percent. He's not he's not batting a thousand. I get the fucking analogies now. Yeah. But I'm wearing a Braves hat, bro. Don't disrespect baseball. Okay, sorry. I think that's the um, I think that's the thing, bro. Yeah, maybe that's the thing. It's it's really about the the goal should be let's make the best song we can, I think, because why not? He didn't understand he just couldn't really wrap his head around, like, why not? Okay, here's another thing for you. Here's another curveball, just because I'm playing devil devil's advocate, and you're using too many baseball analogies. Here's a curveball, take a swing at this one. You know, him writing a hit, he is he's always calculating his hits on stuff that's already been done. How is any new music or new genre or new wave ever gonna be created if everyone's always following the formula for hits? We would never have any fucking new music, bro.

I mean, he did say something about there's nothing new under the sun, but he did say this about his job as a songwriter is to find new ways to say the same things. Everyone's talked about love, everyone's talked about heartbreak, everyone's talked about, you know, getting fucked up, like, you know, whatever, like doing drugs, all the like typical things that like are themes in music. But his job is to like try and say it a different way. So I don't know. I I think at least from like a lyrics perspective, there is already everything's already been said in some way, shape, or form. Like the theme. There's no new themes really under the sun. True. The the job is just how do we say it differently. Unless you're rapping about like AI taking over the world or something, you know. Sure, which probably isn't gonna be a hit. Uh but no, man. We'd love to know what y'all's thoughts are. Obviously, this is audio only, but like our, and I love Theron, by the way. I'm just I hate her. And and he he did say the beat is the least important part of a hit, which is crazy.

Why do you gotta throw that in there at the end, bro? Jesus Christ. Love you, Theron. All right, but yeah, our DMs are always open. We want to have these conversations. I go live every once in a while, like talking with some of our community about some of our interviews, and I think I'll probably like go live after this episode, drops, to like see what y'all think about this because yeah, like this is this is definitely a controversial one where I think you know it's just one of those things where maybe some people just don't want to hear it, right? Because it's uncomfortable. It is it is uncomfortable. And you gotta have the uncomfortable conversation. Exactly. Because the easiest thing for artists is to do what you kind of said of like, let's just go in the studio and like see what we make and like not have any like you know isn't that like what the dungeon family did, you know? Like, isn't that what Mexico Dro did? Shout out one more time alumni, like didn't follow any formulas, he just got a computer and started making shit and started all wave. It's not like what some people do sometimes? I I hear you. I just think that like, especially in the dungeon family example, I feel like they were competitive as fuck, bro. They were trying to always like out bar each other, like they were shitting on each other's like takes from what I've heard, and like the production, they were always trying to level it up.

They leveled up with the competitiveness, but I don't know that they were following any hit formula necessarily. I don't think I think I think the the point wasn't even about the formula, bro. The point was about saying math and beats and melody. I'm saying they're I'm saying he mentioned those in the episode. The point about this conversation was just like, shouldn't the goal be to make the biggest song you've ever made? Why would it not? Why would you want to do worse than your last release? Like that's true. If you're trying to make a career out of music, you should be trying to level up every time. If you got a million streams on your last one, you should want a million one or more. Two million. I mean, I'm just saying, like look, shoot for the stars, land on the moon. Okay. All right. Moving into another uh topic. This is our take episode or sorry, take uh portion of the episode. Slow it down there, man. Yeah. Take sorry, I'm riled up about that one. Um, all right. So I've been seeing a lot of producers, uh, some of them that we've actually interviewed on the podcast, who have taken a pretty um strong stance around uh sending out packs. So um a lot of artists obviously not sending out packs specifically.

Okay, well, just around the topic of sending out packs. So yes. I want to make sure I understand. These these producers in particular uh are being very vocal about the fact that they don't want to just send out packs. I'll send packs. I'll send packs, meet me in the stew. You know what I mean? Like they want to be in person, they're not just gonna be another producer in your inbox that you can just skip, that you don't have any context, that they can't help you make the record an actual song. Um that they've been very vocal about it. Uh and I wanted to just get your opinion and then I'll give mine. Um, do you think that that is a good approach for producers to take? Like if that's how they feel, should they be like taking that strong stance? Do you think that they're missing out on opportunities? Like, what are your initial thoughts? A lot of my takes, you know, come back down to like self-awareness and just knowing who you are, what you're good at. Um, so I don't want to like sound like a broken record, but it really is all about that. Um, I think that if you're the type of producer who and you just know in your heart your strength is being in the studio with an artist. You bring out the best in artists, you have fun with artists, you know the right time to play a beat, you know the right time to try them to try to get them to do a take one more time, or you know the right time to shut up and let them vibe for a second.

Um, if that's your strength, then I understand why some producers wouldn't want to be in the studio and or they wouldn't want to send packs, they'd only want to pull up and be in the session. Um I think it's probably gonna make things a little harder. I think that being flexible and maybe getting in the door by sending your favorite artist five beats here, five beats there, five beats there. Eventually they're like, God damn, this guy's sending me heat all the time, you know. Get a text relationship going, maybe get him on the phone, maybe get a FaceTime going. You know, you you progress. I think you'll end up in the studio. So um, yeah, I wouldn't cut it off completely, but if you know that that's your strength, then you know, yeah, I think that should be the goal is to get into the studio where you shine. But but yeah, I think it's gonna make it harder. So I'm assuming that your stance is probably I don't know Get off your high horse. Nah, yeah, yeah. I feel like it is maybe some sort of like clout move or like you know, power power move or some shit. You don't have to announce it, like announcing it on social media.

It's kind of power move. Like, the amount of tweets I'm seeing about it is kind of getting ridiculous. You don't have to say that, like because now because you're influencing everyone else to like never send packs and never start relationships with their favorite artists and maybe lose opportunities. So yeah, or artists might look at you funny of like, who the I don't even know you, bro. Yeah, who the fuck are you? Like, I I guess my question would be like, do you think that a producer whose strengths lie in the, you know, I'm in the room process, right? Because to your point, I think people can shine there. So I don't want to take that away from anyone. People who can be in the room, really being the conductor of the song, whatever, right? Like, you know, making shit happen. That I get it, and that that's amazing. But do you think that like those producers should have their beats also be able to at least like speak for themselves in some way, shape, or form? Or do you think that there are some people who just that ain't their thing? It's I think some producers aren't as good making beats by themselves, and their resume kind of becomes the songs that they've made with the artists that have come out. It's like here's the shit that I cooked up live with this person, and we made it together and we shared a blunt and I found a sample and we put some drink, we were freestyling, and then they went in the booth and we came up with a hook together, and it's a smash.

Um, so I think that kind of then becomes your resume. Yeah, it's it's kind of crazy, man. I'm actually like, I don't want to say I'm like flip-flopping here, but I'm just you know, hearing you two or three good points. I'm hearing you talk talk it out, and I'm just thinking as well. It's like bro, back in the day before, before producing was more equated equated to beat making, which it's gotten kind of convoluted right now, right? I think it was never about beat making. But I'm saying a lot of people do confuse the two, or the or they put them in the same bucket. Yes. Historically, the producer was very much like, especially when there was like always live instruments being recorded, like the producer was always there. They they had to be there. They're the director. They had to be there. Yes. Because they were the ones that were like making sure that the guitar player played the right piece and the drummer drummed the right shit, yeah, and the artist did the right this and that. You're playing the bridge groove, bro. We're on the hook. Exactly, right? Like the producer, I would almost imagine was like always there. Yeah.

So like this is a new age, this is a digital age, a hip hop more so specific age conversation, right? If you sent a beat and then an artist made a hit with it and put it out and you never saw them, in my mind, you're not a producer at all. I'll say that. Yeah, yeah. You could have you could have made the beat by yourself, half of the song. I think you deserve half the publishing. But I don't know, produced by you? Not really. Yeah. You wrote the, you know, you wrote the beat. It's tough, man. It's tough because that's a whole it's a conversation for a whole other A lot of you artists are self-produced and don't even realize it that you're produced you're your own producers. That's another thing. Yeah, and and I I as much as I do think it's an an annoying kind of like pump your chest, clout, power move, whatever, to go out like on social media and do it. I would easily understand it if an artist or sorry, if a producer approached me as an artist, right? Let's say I'm a rapper. Let's just like put our put our, you know, hypothetical hats on here. I'm a rapper.

Yep. Um, you know, producers are just coming, coming at me from right and left. Everyone wants to be able to do that. Everyone wants to work with Ben. Yeah. Okay. Like they want that playback Ben placement. It's really, it's a hot commodity right now. All right. We get the analogy. Okay, so the analogy is there. Get the metaphors in place. Move on. Um. So I would respect it if they came at came at it to me like with from a genuine place, right? Where it's like, look, I think that my strengths are this. I really want us to make the best song possible. I don't want it to be just you rapping over beat, that is song, right? Like, I want to be in the trenches with you. I want us to put our heads together as far as like how this can really like come to life in the best form. I I respect that. Like a motherfucker. 100%. I like I love what artists couldn't respect it. And if the artist is like, well, you know, I'm not comfortable with that right now. Um next, you gotta be okay with you know, it not working then.

Yeah, and you move on to the next one. Exactly. You don't have to go tweet about it. No, I that's that's where I think it does get a little bit like okay, guys. Calm it down, calm it down. Yeah, so if if you are, but but if you do feel confident that your beats can speak for themselves, right? And like stand alone, you know, in an email inbox, and it's your foot in the door, and you really want to work with XYZ artists. I also would not be above it. Like, don't like swallow your fucking pride and also send the fucking pack. Like here's another fucking thing. You're one guy out of eight billion people in one city in one country in the fucking world, and you want to pull up to every session with everyone you ever want to work with, bro. How are you gonna get to like your favorite artist is probably not in your neighborhood? You know what I mean? Like, how do you expect to you not want to work with anyone else that lives anywhere else? Yeah, come on, absolutely mad, you know. So I don't know why you're not wearing my present. So, like, I know this isn't the Christmas episode, but just for just for everyone's awareness, like spent a lot of time and energy, you know, a little bit of money on like a Christmas present for Henry, right? This is what this is now audio only.

I know, but I'm just saying, like, you still could have, you know, this is the day after Christmas, guys. The day after Christmas that we're recording this, and Henry's just he just what where's my hat? I thought it was a birthday present? See, that's the other thing. You combined the two. Everyone does that. I asked all of my friends that are born around Christmas. Does everyone combine the presents? And they said yes. Yep, so make it right. So we gotta get that out of the way. But yeah, I got him this sick ass fucking custom uh patch with our logo on a fitted fucking Braves hat. It was sick. I was so pumped to give it to him. I wanted to give it to him early. I was so excited, and then he was like, No, you gotta wait till my real birthday, blah, blah, blah. Give it to him. Hasn't worn it yet. Yeah. How do you feel about just initial thoughts? I'm like scared to wear it. Okay, it's that good. Yeah. Okay, I respect it. I'm scared to wear it. Okay. I'm scared to sweat in it. Um, I haven't taken a picture of it yet. I haven't even taken the sticker off of it yet. It's like very it's sitting, it's like the only thing sitting on my bed in the middle of my bed. How good does the one more time patch look?

It's beautiful. Dude, it's you actually hit this out of the park. I literally, oh it's grand slam status, bro. Like, how many baseball analogies are we using? And you and you got the you know, the fitted, I think I guess we've talked about my fitted size because I have a giant head, and I'm pretty sure it's come up in conversation. Do you remember how I did it last? I you you definitely snuck in like I brought up a stand-up comedy bit. Oh, yeah. Where someone did a joke about how Barry Bonds obviously his head exploded from the steroids, right? His head ballooned, and they were making fun of his head being a seven and three-quarters hat size, or seven and five eighths, or no, sorry, seven and six, six eighths, or seven and three-quarters. Five eighths, I think. Exactly. Yeah, yeah. Yep. Um, and and like the stand-up comedian was like, Yeah, they were making fun of him. My hat size is an eight. How do you think I fucking felt after that, basically? And so then I was like, haha, Henry, like the stand-up bit, you know, like what was your hat size again? You're a huge ass head, right?

And you're like, oh yeah, it's an eight. I was like, okay, great. Click, you know, so then I had it right there, bro. Very clever. Yep, yep. Very clever. I'll be expecting you to wear it next time I'm here. That was impressive. Yep. All right, yeah. All I want to add to this conversation is uh, can we make more pants and shorts with zipper pockets? What do you mean? There's not enough. Oh, like just to hold your shit in there. So they don't fall out. I need to sit my shit. My keys were in my car the whole night because they fell out of my pocket. There you go. I need them. How hard is it to add a zipper to pants? Can't be that hard. Is it a style thing that they doesn't look cool? I need the form. I never I need the function. I need it. Not the form. I'm about function. Like form is cool. No. I'm about function. I'm about that function. Shit falls out of my shit all the time, man. Can't stand it. For sure. Uh this is officially my petition from Henry of the One More Time podcast to add zippers to more pants and shorts. I stand with Henry. There you have it. All right. As always, please uh like or follow. I think it's follow.

Follow for podcast. Follow the podcast. Yeah. This is audio only. So follow us on Spotify Podcast. Maybe like the episode. Apple Podcasts. Like the episode if you can. Yeah. Leave us a five-star review. Yeah. Um, whatever podcast platform you're on, because we are fucking everywhere that your ears consume podcasts. We're on it. And until next time, Henry. We are going to get out of here. We're out of here, y'all. Peace.