So, this is a protocol framework that's designed for embedded systems.  You do a handshake and then you'll send encrypted messages back and forth with your symmetric key, but the handshake itself can be tricky.  And the goal of the framework is to be relatively simple. Performance is mostly a non-goal. I wanted the performance not to be terrible, but it's not designed for highest possible performance. Standards compliance is sort of a halfway goal. So this is designed so that you can instantiate it as an instance of NIST's C-shake algorithm, or you can use a smaller sponge construction for efficiency if you don't have the memory for something like C-shake. So the primary motivation for this is that as, since I've been doing some work as an embedded engineer, I've seen a lot of use of custom one-off protocols, both designed by cryptography research and designed by our clients. So while, of course, you would say, why aren't you using TLS? Oftentimes, like in the NTP talk, for example, you see that like sometimes TLS or DTLS or whatever doesn't work for your scenario for some reason or another. You know, you want the messages to flow a certain way. You want some party not to retain state. Maybe you want to mix pre-quantum and post-quantum algorithms or simply TLS doesn't fit. You don't have the code size to support it. And so the result is that everybody has their own favorite custom protocol. And it's kind of a pain to design and analyze these protocols. It's a pain to design them mathematically for academic reasons. It's also a pain to not make mistakes in the design. And sometimes in the end, it's hard to know what properties your protocol has. So for example, you'll have two stages of authentication, but maybe they're not quite perfectly bound together. And then you wonder, well, what happens if an adversary substitutes a message here, and maybe that's not really an attack? Maybe it is. And the result of this is that you often end up with protocols that are insecure from people who design their own. Now, of course, you could go to an academic protocol, but there's some issues with academic protocols as well. And this issue is that you'll have some idea of what you want to do kind of morally when you design an academic protocol. And then you'll put it into mathematics in some terms that might or might not directly show what you want to do morally. And then somebody has to implement it, which will possibly require interpreting your mathematics. So an example of this is the famous MQV protocol. So if you look at FHMQVC, this is fully hashed Manez Q Van Stone with key confirmation. So both parties, they have a long term and an ephemeral public key. And they want to kind of hash these to get two exponents that they'll use to combine the public keys together. And then they want to extract a session key and also some kind of key authenticators from this. As you can see, this is done using a hash and a hash of the is like the same messages in a different order. And two different KDFs that have the same properties. And then some Mac functions and all of these, except maybe the Mac functions are assumed to be random oracles. And then when you go to implement this, you'll discover, well, wait a minute, I'm now hashing tuples of objects. How do I do that? What if the objects are not of a fixed size? I can't just concatenate them. And then you have, how do I separate KDF1 and KDF2? And so even though this is a provably secure protocol, there are a lot of tricks both in how you design such a thing and how you implement it. Another motivation is TLS1.2 and various similar protocols, which if you look at how they actually use their hash functions, you get something that looks a little bit like a rat's nest. This is just the hash block calls in one of the subroutines of TLS1.2. So the modern solution to this, and by modern, I mean, well, maybe 20 years old, but it's taken a long time to percolate through to actual real-world cryptography, is that you should just hash all the, everything. If you know some data about the other party and they know it too, you should hash it. And if you send them a message, you should hash it. And you should also hash who sent the message and the boundaries of the message and so on. When you get a public key, you should hash it. And you should always, there are some technical concerns about, well, maybe you should have two running hash contexts, one for keys and one for authentication or something, but basically you should just put everything into a hash function. And so more modern, like TLS1.3 does this, Trevor Perrin's noise protocol does this. And also the blinker protocol, which is part of the inspiration for strobe, as you can tell by the name. So consistent with this, the protocol designed for strobe is that all the messages in the system pass through strobe. So the application will have some sort of strobe library that has an object that handles, that acts as a bridge between the application and the network. And every time the application sends a message to the network, it'll be hashed. Every time it receives a message, it'll be hashed. And it can also send in associated data or whatever. And then the strobe object also handles encryption and decryption and macking. And then the transport, it's probably the network, but it could also be something like, well, I want to encrypt a message and send it to a file. And then later I will retrieve it from that file and decrypt it, in which case the transport would sort of be your untrusted file system. And a two-party protocol, the way that this will work is that Alice and Bob will have some kind of strobe object with a state on either side. And when Alice sends a message to Bob, it will advance the state of her object and the state of his object in the same way, so they'll always match at all times.  And in strobe, you just drop the connection. So this is not, you can still use it as a primitive, like as a hash function in Cypher and so on, to implement something like DTLS, but the main usage is in something like a handshake where if messages are getting corrupted and stuff, you don't try to reconstruct the state, you just drop the connection. So how would this work as a more or less concrete example in FHMQVC? So the way it works is that this looks complicated, but bear with me for a moment. So both sides will initialize, well, both sides will initialize their strobe object and then they know each other's long-term keys, so they'll just hash those separately using two calls rather than concatenating them because this way it's parsable. And then maybe Alice will send her ephemeral to Bob and Bob will send his to Alice and the framework hashes that this took place. And then when they need to get these exponents out, they call a sort of pseudo-random function call from the library and it will give them this D and basically D is then the hash of A and B and G to the X and G to the Y. And then separately E, which is the hash of that plus D and then they'll set the key and then they'll send the Mac and the Mac will basically be this. Now I still have commas in there so I'm still talking about hashing a tuple so I'm still lying to you but the rest of the talk we'll say how this is done. And so on and you'll see that like all of these, what the FHMQVC protocol is sort of trying to do morally which is that you hash in what you know about the other party and all the messages that were exchanged now gets accomplished by this framework both in terms of the mathematics of it and in terms of how you implement it with bytes in an actual hash function.  So first of all, you can set a key or you can also put in some data that's to be authenticated that you know about the other party could be a nonce or it could be their key or whatever and that'll be hashed. You can extract data from this that is pseudo random. It's basically like a hash of all the things you put in. You can send a message to the other side or receive one in the clear or encrypted and if it's encrypted it'll be encrypted with a key that's derived from everything that has been sent or exchanged or keyed or whatever before. You can send a Mac which is very similar to sort of sending an encrypted message that's zero that's known by both parties to be zero but it looks a little bit different in the transcript. It's just a Mac function. The application doesn't have to supply a buffer full of zeros or anything and finally there's an operation to rekey the protocol in a way that is not invertible which means that if somebody should later compromise the session state then they will not be able to decrypt previous messages that you have sent unless of course they could brute force all the keys that you put in. So the main insight or development or innovation of Strobe is that the way that these operations are described and also the way that they're performed can be determined from basically just four features. So one of them is the direction of data flow so which way do the arrows go? And does any data go to or from the sort of application side of this setup? Does data go to or from the cipher? Like is the key changed or is it used to encrypt anything? And does data go to or from the transport? So that's sort of four features. It's like four bits kind of and I'll show you how this can be used to implement the operations according to a relatively simple pattern. And so that pattern is a sponge construction. So this is based on the work by the Ketchick team mostly and other people who have worked on these sponge constructions. And in particular the duplexing sponge construction. So basically the state of the object in a sponge construction is divided into two parts. One of them which I'll call the rate although it actually rates the size of the part is what interacts with the outside world. So if you hash something you'll XOR it into that part of the state. And if you want to encrypt something you'll XOR it with that part of the state and then the cipher text will be returned and so on. And the other part is called the capacity which basically acts as some combination of a stream cipher key and a hash function chaining value. That part is does not interact with the outside world. And then every time you do an operation or you run out of, you know, you overrun the size of the rate variable, you overrun the rate, you run some function F which in the security modeling of these things is assumed to be a random function or possibly a random permutation which completely changes the rate and capacity variables. So the update function is shown here that the next rate and capacity variables will be F of the previous ones XOR the message on the rate side. So you can see that basically you're going to, well if the application is providing the message you're gonna take it from the application and otherwise you're going to XOR in sort of zeros. You'll XOR it into the state here and then you'll output either the input XOR the state or just the input if you're sending in the clear and then you'll replace the rate variable with either R's or M or just M in the case of decrypt and so on. And so there's a simple function for whether it's RX or M or M and so on. This detail is in the paper. So now I said we're gonna sort of hash all the things. So the goal is basically that the output of strobe should look like a random oracle. And this is sort of suitable to what you wanna do anyway because the idea is to make the analysis of these protocols simple for like a custom one off protocol. So you're probably gonna analyze it in the random oracle model anyway. But it's a random oracle function of a specific thing which is supposed to be sort of the transcript of all the previous operations that you did. So you can't just concatenate them together and also the previous things you did is not just the data but also what operation was performed. And in fact, what operation am I going to perform with the output should also be part of this function so that when I extract a value to be used as a hash it's not treated it the same way as if I extract a value to XOR with a message to send it or I extract a value to be used as a Mac. So the duplex paper says that gives me the random oracle part but what I need is still this parsability. And I wanna be able to parse like I said the entire previous transcript and what the output is going to be used for. So to do that let's consider first an operation that doesn't use the cipher output doesn't encrypt the message. So say I'm sending a message in the clear. So to do that, remember that the operation is determined by four binary flags. So I'm gonna put those into a byte and then there are four bits left over that are used possibly for future things. A couple of them are described in the paper how they'll be used. And then I'll put in the message that's going to be hashed and then finally one more byte that points to the where this operation began. And that way when I go to the next operation, I'll be able to sort of make a chain of these pointing backwards and parse out where all the operations began. So suppose now that you have an operation that does use the cipher state so that the output of this sponge is now going to have to depend on all the previous operations which means that I'm going to have to run this f function so that I can stir in the state of all the previous operations into the output of the next one. Which means I sort of have to sort of pad this the state out and end the block. To do that, I'm gonna put in another begin byte which distinguishes this case from a case where for example, we just ran out of space in the block and that's gonna point just to the operation itself. And then some padding that satisfies the sponge construction requirements. I chose the padding from C-shake because that way you can make a sort of quasi-standards compliant version of this protocol. So you'll take that and then you'll run it into f and then you'll continue where you left off at the beginning of the next block. You know, using the output of the sponge to do whatever encryption or macking you wanted to do with this operation. So finally, I gave you parsability but I didn't actually quite give you parsability because the higher level protocol has probably got operations that are not exactly encrypt max and in the clear and so on. They might be send an encrypted username or extract a hash for purposes of using an FHMQV or something like that. So when I say that the output is supposed to depend on the intended usage of a message and on the previous transcript, maybe the sort of strobe level operations are not quite enough. So to disambiguate this, there's direct support in the library and sort of a small amount of direct support in the protocol itself for metadata operations which work exactly the same as normal operations except that they're marked as metadata operations and therefore saying what the next real operation is supposed to do. So for example, if you want to hash in, you send the other party a public key, you put in a byte that says this is a public key or something and that's defined by your protocol spec in a unique way, okay, this byte 0x7 means public key and then maybe you'll put in the length of the public key or maybe not or whatever. The messages are self-delimiting but you could put in the length and then you will put in the public key itself in a separate operation. So you do the metadata and then the main operation. The interesting thing about this is that actually you're probably doing that anyway because you probably want to send tag length value whenever you send something to the network so that the other party can parse it when they receive that packet so that they can parse it into whatever subparts of the packet are used for different purposes. This is also very cheap in the protocol design because it doesn't cause you to go to a new block because you probably won't be encrypting the metadata. You also, the other advantage of strobe actually is that you can encrypt the metadata so if you want to encrypt the lengths and types of your packets to make traffic analysis harder, the protocol framework directly supports that. It works exactly the same as encrypting anything else. You just use the sort of, you know, encrypted metadata operation in the library. So there's some prototype code on strobe.sourceforge.io. This is designed primarily for minimal size and embedded devices and for simplicity. It has a little IO engine that, you know, probably could stand to be improved but it does IO with callbacks so that you can use the same operation to talk to a file system or a socket or whatever. Additionally, there's some lightweight Curve 25519 ECDH and signature and verification code that might be interesting. I know somebody was looking at it because it has a much smaller stack footprint which might matter in the kernel or something than other implementations of Curve 25519. And so the code total is less than four kilobytes and it uses less than one kilobyte of stack. There's an unreleased version that uses some assembly to get this significantly smaller but this is just the C version and that's on ARM but it's a portable implementation. So there's a lot of work to do in this area particularly in documentation because, you know, I claim this is simple and easy to use without documentation that's adequate and understandable to somebody who is only dabbling in cryptography. It's definitely not simple and easy to use. Another interesting thing is that the way I define these operations, you could of course use SHA and AES to accomplish the same things and I think the constructions would be relatively similar based on, you know, only four flags or whatever. So it would be interesting to try to put together an implementation like that for people who would rather have SHA2 and AES than SHAKE. Furthermore, I would like to complete a formal analysis of this. Almost all the work is done by the duplex paper anyway but it doesn't consider things like rollback resistance of the state or a post-quantum analysis for which the random oracle model suddenly gets a lot more complicated. So that's all. I see them coming, we have time for questions. Okay, three very quick questions. First, can you comment on patents? Something key at plus but we don't have specific patents on this except that the paper describes also a variant of the DPA-resistant key tree for which I can neither confirm nor deny on CRI patents but outside of the key tree stuff and whatever patents you may stomp on by implementing a protocol with this, it is not specifically patented to my knowledge. Second question, you were mentioning that you don't care so much about performance so why do you have the clear text options? Couldn't you simplify it and promote good practice by only allowing people to encrypt? Maybe. Well, the particular issue is like metadata, you know metadata might, you might rather send it in the clear so that the other guy, if he's got, like if it's a security enclave inside a smart phone so that the smart phone can look at patent, can look at packet headers or for like a bootloader that has encrypted code, you might wanna be able to see some kinds of headers. I could remove that option though, yes. Okay, third thing, I was just wondering as an academic, you were criticizing FHMQV and labeling it as academic, I was just wondering why. No comment. You've discussed a little bit about formal analysis of the framework in general. Have you thought about any work in the direction of allowing engineers to implement a specific protocol on the strobe framework in such a way that you could automate formal analysis so you write it up, extract an implementation and then also get an automated check, I'll say pro-verief or crypto-verief as to whether the protocol is meeting the security goals you think it is. Yes, but I haven't done it yet. If you wanna do any collaboration in that direction, I'd be interested. One of the most issues that we have in embedded system is the power consumption. Did you consider that, did you compare your method with others in powers? Can we use this for example with Arduino boards with a battery? Did you consider that, did you check it? I don't, I didn't actually put it on an Arduino board. I mean, it runs fine on a photon. Yeah. Did you compare your power consumption of your protocol with other protocols that we have? No. Thank Mike again.


What's going on y'all? Welcome to my channel. So I have a question from a viewer and he writes, hey Lloyd, I've been dealing with a girl who responds sometimes to my messages. Sometimes she'll take a while or not at all. I try not to get angry or keep texting her, but what should I do when she ignores me? Okay, so this is probably one of the most common questions that I get. You know, what should you do when a girl ignores your text message? Okay, well you got the right idea so far is don't get mad, don't get angry, but I would say if you get a girl who's consistently ignoring your messages, you got to find somebody new. Like what you have to understand is that the attention somebody gives you is an important thing. Like that's something that I'm looking for when I'm looking for somebody that I'm interested in. You know, if you just want to hook up with her or you know you're sliding into those DMs or whatever it is, then sometimes you can make it work and we'll talk about those later on in this video. I kind of had a handle that situation. But you guys, if you're looking for something strong, if you're looking for something like meaningful and this person's not giving you that kind of energy back, dude, put yourself first. Your time is valuable. Like spend your time with other people that are going to be willing to give that energy back to you. And if they're not, like they shouldn't be a priority in your life. Sometimes when I give this answer to people, I'll tell them this, but then like if it's a client, I'll actually look at the messages they're sending.  So like you have to ask yourself like what kinds of messages are you sending this person? All right, if you're sending her like a good morning message every single day and she starts ignoring them, like you should really not be surprised by that because you're not asking any questions. And honestly, I think a good morning text is not a good message to be sending. You can get away with it once in a while. Like if she really, really likes you, she'll probably like to hear that once in a while, but again and again is like, it's so boring. Like just don't do that. Okay. And the other thing too is like, how long are you waiting for these messages? Are you waiting 20 minutes since she doesn't get back to you? Because I don't know about you, but if I'm working during the day and somebody texts me like at around 11am, I might not get back to them until the evening, you know, or even till like 8 or 9pm.  And she probably does too.  If I was texting every girl that's interested in me during my work hours, I would have no time to do anything. So that's why I allocate like kind of a certain period of time during the day where I can text everybody. Women are kind of the same way too. And I'll also pay attention. How upset are you getting? If it's if she doesn't respond within two hours and you're getting super anxious and super upset, like there's something wrong going on there, bro. Like you are not like clearly your confidence or your insecurities are not where they need to be. And if this is a problem for you, that's something that you should really look at. Like that you should not be getting that upset if a girl ignores your messages.  There's something going on there. So I have tons of videos where I talk about how to help out with that problem. That's something that I coach my clients on all the time. So pay attention to those feelings. Now, if you've done all of this and you just want to hook up with the girl, there are women out there, especially if they work in the nightlife, like maybe they're a stripper bartender or you know, just a busy girl with like who's super hot that has a lot of dudes hitting them up. Yeah, there's going to be times where they ignore your message and you can still meet up with them. You can still do well. In fact, not too long ago, I had a girl with the same exact thing. So this happened a while ago where I was texting a girl who was really, really hot. Yes, she had tons of dudes hitting her up and yes, sometimes she would ignore my message. Now was I in love with this girl? Is that crazy about her? No, I liked her. She was hot like I wanted to see her. I wanted to hook up with her. So what did I do? When she ignored my message, I didn't get angry. I didn't pout. I think one of the messages I sent her was like, Hey, how was your day? You know, just ran. I'll say that once in a while. Doesn't respond. Shocker. Okay. So I don't get upset. I don't get angry. And then later that night I sent her a picture of what I was eating. I think I was out like out to dinner with some friends or something like that. So I sent her a picture of what I was eating.  She's like almost immediately because usually around like the evening time that's when most people are free.  That's delicious. And I'm like, Yeah, it's super awesome. Like, and then I, you know, we talked a little bit about that, found a time and place to meet up. We met up, I think a few days later, ended up hooking up and having a great time. And then I saw her a few times after that, you know, so like that can work.  And if somebody will never give me their attention and they've made it clear, like I've tried three times and they just ignore me. Well, not like I send three text messages back and forth, maybe we text and ignore and texting or something like that. Okay, there's no reason for me to send her another message. Even two times, I'd say, you know, I haven't had that happen for a while, but even two times, I'd probably say something like that. Okay, so put yourself first, you guys, like for this example that this guy was giving me, I really don't think she, he should be texting this girl again. Like it sounds like it's really bothering him. It sounds like this girl is not really valuing his time or attention. And as a result, he shouldn't value hers because she's not giving very much. So, dude, find someone who's going to give you the attention that you want and that you deserve because if you don't stand up for yourself, nobody will. Well, thanks for watching you guys. If you made it to the end, consider subscribing. I come out with videos like every single week. I think good luck out there.


Hi everyone. My name is Jeremy. I've been an engineer working for the French National Research Institute for Tear Science and they hired me to work on Métis. Just a quick show of hands. How many of you have heard of Métis before? Cool. How many of you have actually tried it? Alright. So I had my spare time and just developed working on Go Packages and X-Draggers. Alright, so first I'll go a quick recap of what Métis is, what it does, what it doesn't do, where it is today and what are some of the goals that I want to see. Some of the things I want to see and I want to do work on and some of the problems I've been having on the past six months. So Métis is not a 3G desktop. It's actually the name of the paper that was published about Métis. Métis has three parts. It's actually an X-server. It has a window manager and it has a browser. So in terms of overall architecture, it's kind of like the early companies that had XGF. So that's very similar. Métis is first and foremost a research project by two French colleagues in mind, Nicolas Lucerne and Olivier Chachis. There are two guys that started Métis in 2001 and later on Olivier came in 2003. So it's been going on for a little while. And it's a test that's for new ideas. Basically any wacky ideas, they come up. I work in an HCI team. So basically any kind of wacky idea that the team is going to have about window management, desktop interactions, this sort of stuff, they kind of throw it at Métis and hopefully it'll work. Most of the time it doesn't. It's really crappy, but you know, every 10 ideas that they have, maybe there's one could still stick around for longer than a couple of days. So that's really the main idea behind Métis. A lot of people have been asking that question in the past couple of years. Métis is not meant to be compared to Métis. First because Métis was kind of there for so long. And then the objectives are really different. Métis is a research project. Métis is a software for distribution and for effect. It's really meant to be stable and with a good architecture and a maintainable code. So there's really two different objectives. But Métis is meant to be usable. I mean, what good is it if you have a window manager that crashes every five seconds. You can't really work with it and sometimes you want experiments to last longer than 20 minutes. You want actually people using it, getting feedback to you and then telling you what they like, what they don't like. So it's really meant to be usable every day. I've been using it for six months. What do you get? I've been using it for about four years now. It is a working solution for every day. Just some quick historical background, really, just to get inside you how Métis came into what it is today. I first started as a toolkit, which is called VideoSpace, which was published in 2001. VideoSpace was a project to interact with videos, mostly in an open-jail context. At one point, we put out a researcher who worked on VideoSpace who decided, well, why can't I just mix videos? I might want to plug in regular applications into that. So he worked on VideoSpace and Tiamatista as a way to stream X window applications into his video experiments. So he was able to display regular X applications into his video composite. So to do that, just a quick recap. This is 2003, some of you, it's like ancient times in the open-source development. This is when Fedora Core came out in 2.2, and today X sprouted to when X3 gained 6. 4.3 was released, so it's like prehistory. So artwork is based on XBNZ, and it was really a major hack. It's a wonder even work. So there was this XBNZ server with home Italian window manager, because XBNZ only exports the global frame buffers. So basically, if you want a single texture for each window, which you do want in a compositing environment, then you would have to tell you windows next to each other, because they never overlap. And so he had to write the tiling window manager, so that the windows would stick right next to each other. And then on the compositing side, there was a 3D window manager, but it was not really a window manager. It had just very basic features like picking and moving, and it wasn't really a window manager 20 kind of standard. It was very kind of... But it was not usable on a day-to-day basis, but it was enough to get some really cool demos up. So now we come to Matisse. So Matisse was published, the paper was published at US 2005. And he was at an HCI conference. And so now we're back to a more traditional architecture. So there's the XBZ server, which is based, which is a four-cup XBNZ server, into which was incorporated a window frame buffer mechanism. And on top of which sits a standard X7 window manager. In our case, it's IPWM. This one was chosen because it's very flexible. A lot of the experiments have been done with IPWM, and it has this really awkward configuration language. And when you read the configuration files, you really have to wrap your head around it. But it's very flexible, and you can do a lot of stuff. So basically Matisse uses IPWM with a composite plug-in, which does all the OpenGL rendering, like comps or others. And then there's the... I mean, not proprietary, but a private protocol between XBZ and the composite module to transfer other case-maps and everything. Of course, it uses shared memory if you're on the same machine. But there's a real protocol in between for volume stitch. I'll get to that a bit later. So the architecture for Matisse, basically like this. I mean, all of you have been using comps before using XCOM. Basically how it all works. You have your XCOM applications, they contact an XMT server that doesn't drive any output of interest. And then you have the composite here that takes the fixed-maps from the XMT server that just plays with OpenGL and bunch of other parts of it. So it's all very... There's really not much to it. So now there's a demo. Demo attack. All right, so if any of you want to try this at home, there is actually no problem. This is a box-standard Mandriva 2008, which was released like two months ago. During being installed, it's going to actually ask you if you want to go on a piece, just click again, and you'll have this lighting all the way up on the demo. Any extra little part. So one of the basic operations you can do with Matisse is window transformation. So it's a very basic transformation. You can rotate the windows around pretty much any axis you would think of. You can... This seems rather trivial to do. Basically you can do any sort of OpenGL transformation on your windows. While the windows are in a rotated state, you can still work on... You can basically do anything you want. Everything's the worst that you can do. So menus sometimes... menus they'll work. So this is not very useful. I'll grant you that. Rotating, some of these things are really useless. But another thing you can do is scale. This is actually much more interesting. So this is not resizing, this is really scaling. So again, this gets for free out of the OpenGL transformation. You're going to tell me what's the point of scaling. Everyone can resize or there's no real point in that. But an interesting thing you can do really is that you can get zoom for free out of this scene. And this is really interesting when you have old legacy applications. And you have this big 30-inch Apple screen in the display. Which is like 2,600 wide by 1,000 pixels. And you have this tiny motif application which you can resize. But you can scale it with that. And the application doesn't even know it's being rescaled. So this is an interesting feature for accessibility. And just sometimes you might want to zoom in or something. So this is something you can do. Another operation you can do is when you have multiple windows overlapping, you can fold windows to see what's beneath it. Again, that's not very useful. It's kind of like the flashy demo. But this is just to show you, this is one of the things that the team looks at. And I don't know if it's useful for anybody. It's definitely not very useful for me as it is. But someone might find it useful in another context. So this is one of the possibilities that the team has. And actually, so this folding technique on its own is not very useful. But it does have one nice application which is copy-pasting. So for instance, if you run, let's just say you want to copy some data and you have overlapping windows, you can start a drag-and-drop method selection operation from your terminal. And the window will fold, bringing this one to the top. And once you release your mouse button, the window comes back and unrolls. And you can paste it again. So this must seem really trivial, but in tests that were done by the team, this is actually the faster way of doing copy-pasting. Again, copy-pasting seems really trivial. But if you're an office worker, this is something you'll do. This is not something that we programmers do much. But office workers might do this thousands of times every day. And so even a 0.1 second increase could be worth something for them. So this is the kind of interaction techniques that Matisse is all about. It's really interactions between windows. It's not really targeted at what's going on inside the windows. Another feature of Matisse is based on the FBWM pager. So we have a standard FBWM pager here, which we have extended. So FBWM uses pages rather than desktops. This isn't no X difference. Basically, there are subtle differences between virtual pages and virtual desktops. Once you use virtual pages, you still get to keep your windows around. That's one of the features. And using this pager, we have the global desktop view. This is really another feature specific to Matisse. You can still interact with windows when you're in the global desktop view. You can move those around with various desktops. You might even want to zoom in and have your windows while watching everything else. This is the kind of thing that you can do. What else? Back in. Another feature of Matisse, which comes to window management, is we call that feature facade. So feature of Matisse is a user basically modifying existing applications without their consent. For instance, I'll take him for the sake of simplicity, but imagine an application like Photoshop and Windows that has thousands of dialogs, thousands of menus, pop-ups, whatever, and you can't really, it's really hard to configure. So one thing that a facade implement is basically copy-pasting elements of the UI into their own application, into their own windows. So, for instance, let's just say I'm working on a... I just want to use some tools that the game provides. I'll just copy-paste them. I'll select them and I'll basically create a new window. So the game has no clue what's going on here, really. I'm just taking out its buttons and I'm not asking for permission. So... Now I have my own toolbar, which I can use. It's completely functional. I can select the buttons. And you will notice that it's actually really a copy. So when I click here, the reality is like I clicked here, and vice versa. There's no distinction between the two. This is really a clone, really cloning elements of the UI. And a nice feature of that is that you can, you know... You can save... Yeah, it's already prepared now. So you can have multiple sites available and then you give it up. And then you can use... Again, imagine you have this huge display. You might have all your extended games menus on the side and then you'll have just the bits and pieces that you're really interested in on the other side of your window on the other side. So you can really arrange your desktop the way you want it, and not the way the application designer really wanted you to. So this is really... You don't have to write any GemFu extensions or Firefox extensions in JavaScript or, I mean, Pergen 7-Take in OpenOffice, writing C++ code. This is just standard X. So another interesting thing we have in the T is a bimanual interaction. So, basically... Can you close the other widget, the new one, which are functional? Which one? It will be original too. The original, then it will be the other one now. This is based on the browser. So if I close the game, this doesn't exist anymore. Of course, the other way. Yes, that you can do. You can hide... there's an option. I don't really handle it really well, but the composer can hide the original window. Why did you happen to resize the gas window? That is tricky. If you use the accessibility... I don't know if you've noticed, but when I was dragging and selecting the buttons out here, there was window snapping. And that uses the accessibility toolkit inside GNOME. And when this is enabled, it's thumb stretching and allowed because they can keep track of the actual widget. But if you're using plain X, then you don't know what a widget is. There's actually no notion of widgets. So there's no... you don't know when the widget is resized. So, yeah, you're screwed. See, it still works, but it won't. So, yeah. Bimanual interaction. So basically, we're using both hands, for instance, this is getting a pretty standard configuration. We have a laptop, and then you have a mouse. So more and more users are actually going to have a touchpad and an external mouse. So this is going to become... this is already becoming a very standard setup. So there's... there are ways to explore bimanual interactions. So one of the things you can do is what's called a tool glass. So a tool glass... clean it up a bit. So basically, a tool glass is a window that you can control with your mouse. So basically, I have my USB mouse that's on the side. It controls the cursor. And I have my touchpad that's been attached from the X operation from the pointer. And I can... All right, this is my initiative. And so once you have... the two are supposed to be entirely independent, I should have checked that. And so you can have one... you can control this tool glass with your left hand, and you can control the cursor with your right hand. So of course, most people are going to wonder, what's the point of controlling two things at the same time? And most people don't. I mean, the point is not controlling two things at the same time, doing two things at the same time. The point of bimanual interaction is mostly to control... to use both hands, not to use both hands, but still use both hands. And so this way you can position the tool glass with your left hand. And then once you're done positioning your tool glass, you can use your right hand, which was still controlling the cursor, which was not far away, and do two operations like this in one. So for instance here, I will select the... I will select the paintbrush, and with one click, I can start drawing. And with another click, I can start drawing in green. So this way I can draw. And I can move the... I relate, the tool is supposed to be entirely independent, but I'm sorry about that. So this is something that you can do, or you can have two person. One that you will leave on the... for instance, one that you will leave around here, and one that you will keep on your drawing area, and you can control both. So this is... Peter Hutter has been working on MPX, and at the end of his talk, that he did at the LCA a few weeks ago, he was wondering what kind of things that you can defeat with MPX. This is one of the possibilities that you can deal with MPX. There are thousands of other things, but this is one. One thing that's really interesting about using X for this is that X is really, really flexible with the DX protocol and X applications and overall architecture of X. It's really flexible. So this is really one great tribute to X, the X community. Because when you read HCI papers, and as Ben said, St. Chai, U.S., and all these conferences, I think this, my manual interaction called the tool glass, that was a paper that was written in 1995, and no one has ever implemented it because you can't do it on Windows, you can't do it on Mac, and Linux and X is basically the only system that allows you to create such a package. And so this is one thing that's really important for X in general is that X is a great research platform that is much, much, so much more open than anything else available for researchers. So this is really an important aspect. Another interesting feature of MPX is the window, it's actually an extension of the SOS feature I just showed you earlier. And it's the window duplication. Imagine for a second that... Imagine for a second that you're... This is one thing that HCI researchers are actually looking at and to this is like the hot new thing, it's a table like Microsoft services. It's like an LCD screen with touch sensors and stuff like that. So imagine that you're working on a table and then, so the screen is laid in front of you horizontally, and imagine there's a colleague that comes up in front of you and you want to work on something with him or you want to share an application. You just want to work and do some collaborative features. So for instance, you can duplicate a window and you can give him that window basically. And since he's on the other side, where you can make it, he's standing right in front of you. So you guys, and with the MPX feature, unfortunately it's not seen around the working area, you can give him a cursor and you guys can both work at the same time on the same window. And this is total, but it works with Firefox or X-Term or whatever. So basically, you can have collaborative features for free inside the T. So yeah, most people are actually developing collaborative features inside Abbey Word, using XMPP and Telepathy and whatnot. But you can get it for free using X. X does this, so why not use it? See, you resize windows, so if you resize, see that it works, but I mean, there are issues. So for any questions, please try to move on. So yeah, Matisse, what's coming up in the next couple of months and weeks and years? I've been starting to work on a configuration interface, putting some exclusive features, this is something that people are getting used to, so we're going to put it in. Maybe work on some previous configuration using standard configuration tools and stuff like that. And one of the most important parts that I want to work on is XOR integration, because right now Matisse does some stuff, but it does it on its own, and some things are hacked and some things really belong in XOR. And the two of my colleagues


Check it, check it, check it, it's a unique hustle. It's your boy, E-C-E-O, and I'm here with the lovely official Mr. Mako. What's going on? Not my dad. Man, hey man, save man. Check it, man. We got two. Where you guys from? India? You just say Indianapolis? Indianapolis, Indiana. Oh, man. We're the car racing. Oh, yeah. We got my boys like that. Hold up, hold up. We got Trulia and Rockstar in here, man. How y'all doing today, man? Man, we blessed, man. Man, thank y'all for coming down to Texas, man. For the show. Yeah. Well, I tell you, man, you got iconic films? Yes, sir.  Definitely with the best of them. We some of the best of them. Man, and so y'all got so many different moving parts to you guys, man. And it has to be something to where it has to be a chemistry to even be able to stay together like y'all have. How many years have it been? Man, 20 years. We got 20 plus, yeah. 20 years? Yeah. How do y'all? 20 or something? Yeah, but I mean, we've known each other since we was 13, though. Okay. So yeah, we 20 years. But when did y'all start the journey to become... Nappyville. Nappyville. The Nappyville journey started when we probably, we say 12 years ago, something like that. About that? But we was doing it before that, but we just really started going crazy like 12 years ago. And is this what you always wanted to do when you were kids? The plan A, plan to Z. It ain't no other plan. This is what we do. This is the only thing we're going to do. How did you get into the business? I mean, like from growing up, just always hearing music and just knowing that this is what... Because we grew up around Indiana, and that's where Michael Jackson was from. And I can say to him, the greatest musician and entertainer of all time on any level. You know what I mean? He grew up a couple blocks away, so that's all we ever wanted to do anyway. Mmm. Babyface. Yeah. What? There's a lot of folk from now. Whimperbill, babyface. Come on. You got that Whimperbill? Yeah. That one right there. Just make it and say, I'll buy your clothes. I'll pay your rent and cook your dealer too. Soon as I get on for work, that nigga. They got some of those out there. See, I like that one. What? I like that one. Oh. I like that one. Go ahead and turn that on for them. Oh, yeah. No, man. That's a lot. That's a lot. But who put a first camera in your hand? Mmm. Oh, man. If you all remember. We was doing stuff at school. We was getting famous at school from doing little movies and stuff. We'd be at the school making movies and making little music videos and stuff like that, along with our music. But who bought you that first camera, though? Ah, we bought that. Oh, you bought it yourself? Yeah. What camera was it? Oh, okay. Oh, yeah. That's what you're making now. When we took the house camera out, then we put one on big ones. You had to put it on your shoulder. Mmm-hmm. Yeah, things didn't change. But you made it do what it's supposed to do back then. Hell, yeah. We made it do what it's supposed to do back then. Shit. So, you guys, man. So, just tell us a little bit about, you know, the town that you grew up in. Like the town. Just coming up. You want to tell us about the town? Yeah, Nab Town. I want to hear about it. The city, Nab Town, Nappyville. Oh, yeah. Oh, man. Yeah. I mean, forever it's been called Nappy Town because it's sleepy town. You know what I mean? We don't walk that thing up. You hear me? Oh, yeah? Yes, sir. They might have changed the name. We already did. It's called Nappyville now. That's what everybody called it. Y'all changed the name. We don't want to do the Nappy Town thing. That was 90 talk, early 2000 talk. It's Nappyville from here on out. Nappyville. Okay. So, who all of you guys work with? You know, like, as far as I want to... Oh, that's why you get into that. I know you're going to get into that. I want to know how they got their names. Truly. Rockstar and Truly. Rockstar and Truly. I'll let him go first. See, he starts smiling. Mike will take a little longer. Go ahead. Well, I'm a rockstar, baby. That's what I do. Oh, simply. Yeah, it's simply. Yeah. Yeah, he really is. So, that's his name. Explain what a rockstar does. It makes sense for him. I mean... So, he's up all night. That you're thinking. Doing a rockstar. Everything. Everything. My fingernail polish didn't came off now. Wow, you're jumping into the crowd. You have a crowd, sir? All right. We've been doing this for a long time, like, that. Wow. You're everybody, I mean... Where's the eyeliner? Skinned shoes, all that. We started... All of it. All of this. I'm gonna take a job at it. What did you say? I said, where is the eyeliner and all of that? Aw, man, that's for the shows. Oh, he go all the way in. Yeah, yeah. Wow, that's dope, man. And Truly? Truly, what's up? Okay, so look. When I first started making music, You go off the little what some things called karaoke things. Yeah.  Yes, sir. I was just like the best King George. Yes, sir The best thing ever I've ever heard in my life. So everybody started just calling me true all the time You know what I mean because my originally my rap name was some way different But everybody's like true true true cuz they was like that's all I listened to So then as I got a little older little female start putting their own little twist to it when I start turning to who I was That's like truly, you know, I mean, so then it just was just truly from now on That was like high school on tonight. So I thought about truly yours. You know, like when you sign a letter But they say something different but not true like true yours and they're like, you know, I mean, it's always like that You have a true true KLC was on the show already Yeah, he's by the pound. Yeah, I love he's been on here. Yeah. Yeah, I like it man I love I love the fact of how the how the music go we wrapped up his beat first Yeah, yeah, I got a copyrighted on YouTube dealing with him I don't mind taking the copyright for a legend. You know, I don't care like that. Whatever nigga Don't monetize that I just wanted to be something that yeah, you know, we can remember man That's a legacy man. That's a legend. You know, I mean for sure. Who's your favorite like like what inspired y'all to do music though? I mean just it just it just in us man like being from where we from It's like it's so much going on It's only a few ways to get it out of you You know what I mean? You can get it out in a violin way You can get it out in an athletic way, but we ain't we ain't take that route We got it out with just you know me just talking and writing at all times and then turn it into music Wow Yeah, so do you guys feel like I was gonna ask you earlier?  I Man, we've worked with a hole. Oh, it's man. It's really easy. I know you work with boozy. Yeah We got us. We got a song with boozy. Have you ever worked with triple sigma field? We work with a couple of them. Okay couple of members one of the main DJs DJ black, okay, DJ Paul on the wall. Yeah, him and DJ Paul like this. Yeah, I mean to eat travel them out of time You know he from Indianapolis, okay? When you when you think about Collaborations, how important it is how important is it to work with others in the industry? All right, does it matter? To me to be real, I Don't I don't necessarily think it matters musically, but you have to collab in business You know what I mean? So like say if she's in the industry and she's doing so I need to be doing You know, I mean we need to bridge these gaps and keep us all tied in but musically man It's like about who meshes together You don't just go get somebody cuz they hide cuz your sound might like your sound might not match a J Cole or a Drake or whoever you think is at the top You might want to do a record with K camp and then y'all gonna make a hit cuz y'all blend together You know I mean so Collab it is it you got do what makes sense But business wise I need to collab with everybody cuz some if somebody has something to bring to you and you got something to bring it up So have you ever worked with K camp because I talked to this a guy Michael Montana and he work with K camp No, we never worked with him. I like his music. You're like music all the time Yeah, I mean how important is it to go through Atlanta?  I think you know, straight up.  Oh, come on You're in the industry this have to be a stop we figured that out just by coming through here Yeah, I mean the love is crazy in Texas. Oh, it's organic cuz like someplace You got to force yourself on the people Texas They want you in here, you know, I miss love, you know, I mean you feel it That's how you end up on boss talk one-on-one Texas really shows true southern hospitality out of all the other states I believe that I mean like Texas is like truly hospitable. It was time out there earlier today. You're hospitable Get out of the get out of the image you make a hospitable So so when you guys What what did you expect to see coming to Texas this this trip? mmm That hospitality. Oh, yeah, yeah, it's been working out for you. It's been working out lovely Let's go. We haven't been to Texas a whole lot. We've been here. Maybe just passing through we've been there Yeah, three or four times. Yeah, this is part of the longest that we've been here Yeah, I can been all over Man, yeah, we got something for you down Took us all over this West Dallas So when you when you think about Just music where is that today versus where it was when you guys first started off? Yeah moving from the CD era moving into data streaming and all that How have you guys been able to cook? You know, pretty much transfer into that streaming?  So what's the hustlers game and like anything that's hustle I love when you think about it you you look at it? There's a there's a dilemma in the music a million streams a million streams Apple equates to four thousand dollars. Yeah, and that's not a lot. No, it's not. So how do we change the narrative? Okay, I mean and that's I don't know if anybody have asked you that question I'm just thinking about how cuz it's so many people prop it up as if we making money Yeah, you're gonna see the rope. Look at the gold. Yeah, all right. Are they lying though? Yeah, they could be or they could not be But you got to have that like I said, it's a hustler mentality So you got to just say all right you streaming my music a hundred Million times, but what else do I have for you now?  So now I'm making three times the amount of a CD That's right. I'm gonna get 10% of y'all to do that. I'm making three million just off top. Wow That's how you gotta look at you gotta look at what else I can do to go along with it because like you said It's four thousand. What's that gonna do for anybody? You gotta you gotta work at all.  Yeah, there's so many different things that you have to do in order to be this so-called independent artist Yeah, when you tied to partnerships with YouTube and everybody else to be honest with you Yeah, because that's what you're doing when you when you're tying yourself up with these different entities in order to get yourself seen and Appreciated by your fan base. Yeah, right So you guys show money sponsorships. It's a lot of the show money and the sponsorship COVID hitting it shook up The world when it came down the show Lot of neighbors wasn't able to sustain right man. We let go out there. Mm-hmm. Yeah. Yeah, that's and I think that's something you got to think about Yeah, I think what it's taken away from is that face-to-face people are not doing many face-to-face It's virtual face-to-face, but I think people want the face-to-face still no they do but a lot of people are people are So used to being behind, you know The phone or the camera and showing you their personality through the social media instead of Coming face-to-face if that same person who show you their personality through social media see you face-to-face It ain't the same. It ain't the same. It's a totally different person. You're right, and then they had a field, though Exactly. You know what I'm saying? I'm tired of this, bro. And they had a field. That was you. Yeah Man, I ain't a lot. A lot of these people, you don't even know who they are You ever want to trip off? So I'm going tagged because it's a platform called tagged. It's old school. That old school, like a myspace old Look at them. It's gonna have a live. They on there just on their live But their picture is not what you see when you hit the button.  I'll be shorted to my wife. I'll be like, oh, yeah, this is dope right there. That's something you got to smoke to it So so How's the music in the in the Indianapolis area? Yeah versus the music in say the South Texas area Yeah, how is that? Is it speed it up or is it cuz we slow it down? Yeah, y'all slow it down But I we don't really speed it up too much I would say it's a little bit of everything since it's in the Midwest You got a lot of that south sound you got a lot of east sound a lot of that west sound So it just depends on that that artist cuz they're like nobody does as it's not like official sound Right, but it when you mix it all together, I guess it kind of does give some Well, it's the middle of the map. So yeah, it's the crossroads of America. Yeah, so everybody everybody come through there You know, you might not be there for a long time But like they say about Texas the support here is different, you know, I mean like if we was Texas artists Man, we'd probably be the biggest artists in the industry right now today, you know, I mean but coming from there They ain't never seen it. They don't know how to accept it But some people they do accept it now But it's like they it took it took a little minute to figure out what it was even going on Cuz it's like getting hit by a semi truck the way you came through You know me then and they just now coming to so now it's like, okay a lot of people they're making good good music now How is it? How is it? The love there because I know what a lot of artists have a problem with is whatever sit there And they have to leave and go somewhere else to receive the love be like that rather than in their own city But I can tell you this like when we do stuff at home. We pack it out It's sold all the way out. So the love is a hundred percent from the people So so what it was like I said on this podcast I said in these niggas face the niggas that had that got the keys to the city the DJs or whoever the Radios and all that that's supposed to be helping the people that are helping themselves Not just taking somebody just because they're from here We got to blow you up But if it's people that got big buzzes selling hella merch selling out shows you do your job Your job is to break these records and if you can't do that then you need to get out the way That's the thing about other cities though other big cities, you know DJs break records. You know, I mean that's what DJs are LA New York Down here in Texas Houston Dallas. I mean That's that's the difference between a city that's known for the music in a city that's not right It's only the people that are in control of the music So the people in Texas that are in control of the music they do their job in Texas orders are eating and everybody wants to come to Texas we all want to come to Dallas. We all want to go to Houston. You know what I mean? We are whatever other city here Outstanding for all these events.  It ain't just about nappyville or the next orders the next orders That's about y'all whole city. Everybody want to go to Cleveland cuz LeBron James He ain't that no more. I don't I ain't never I ain't thought about Cleveland since LeBron Everybody talking about Atlanta.  Yeah, I'm gonna come down.  I want to see my trunk pop Oh You're not gonna see it like that every time that's what my head You think that comes in the video When I get over there, I'm gonna see that pop pop I want on the hood No, no, no, they got longer with them now you get they can tickets with it.  We're in a good spot with the music though. Do you feel like we we making some strides? Do yet? No on a whole in general. Oh, man. Yes, and and and another thing Do you want R&B back? Yeah on the top?    It's time to bring it back Once the R&B comes back the generation Society will start building up even more with all these babies start Let's talk about iconic films. I just want to hear about cuz I'm you know, how we do the angles and all that man What made you get into a film and rock star?  Yeah, pretty much you needed it We were we were artists right and we're from Indianapolis. Okay when I'm by doing videos in Indianapolis It's the racial capital world got the colors got the paces. That's it sports for the most part You know, I mean, yeah, ain't no film world What no music world besides what we was doing in the artists around us, you know me So we had to create our own lane for the videos. We had to shoot our own videos After we were shooting our own videos Rock on the dine. He's saying one of the videos. He's like, hey, I want you to shoot my next video So then I went down we went down shot his video shot out to see no shot out to see no So I to change video then that's right after that. Oh, man I need one like with two change then right after that then we moved to Miami And then after we moved to Miami, then we shot everybody on that wall future I Future first video was that I think it was like roller-dexes. It was it was a old one and tell them how much it was Free 99 almost That's how you get your name out there. Yeah, I mean even one of us had a name So, so how did you link with future? Rocco by way of Rocco. Oh He was under Rocco my dude You tell him say man, I went over to e ceo at boss talk 101 He said check your DM nigga you done been on pictures with him. I've been in the club with you We we always great. Oh, yeah, I need anything on boss talk 101. Yeah, but we was at the right there at that At the we's in Vegas at the casino. Okay We hung all night Gucci would ever Gucci couldn't he couldn't go to the nars party because he had said something real fly It's the old Gucci He had said some real fly and it was real fly for the south niggas. So I wrote with it all the way.  Gooch. You know I'm saying it was about the cars He's like, yeah I think Rocco was saying something one of somebody said something about their cars up in They said something about the east coast somebody and Gucci was like, they ain't got the red one. They ain't got the blue one It was Yeah, yeah Man, look man, I'm gonna be honest with you and y'all might not feel money. It's because are y'all considered east coast No, me. It was me. It was okay It's a difference In the way they treat the artist, you know what I'm saying like when you go look at the other platforms Uh, the and I I don't want to be there I ain't gonna mention their name, but they don't the south is not shown the same type of love that they show the east coast Artists bro are the west coast artists So but we have to for me We have to represent ourselves and where we at because we all talk a little different We may rep a little different, but we all brothers and sisters in this game You know what I'm saying? I think it should be more unity. Yeah, and I know it sound cliche, but it ain't like that Bruh, it's gotta be love Exactly. No, I say that because I I think the south from music, but when you go to those platforms those bigger platforms Right there. They represent it in a way like the south don't run the music Go look them up. Yeah. Go look. I can show them to you. I mean, I don't have an answer for that I don't know. Hey, Pat Booster been on on the breakfast club, but the row ain't and he got platinum platinum a music I can keep going. I can hit them. There's one. There's one example Maybe that's because all that stuff is over where they at and they got the relationship. Yeah, Booster just went up there and got Pretty much a ambush on the interview. Hmm. Yeah Yeah, they had a whole flaming something and they're sitting waiting for him, you know, like It knew he didn't feel comfortable with it. Yeah, all I'm saying is what is what is the plot behind all of that? Oh, man, you see what I'm saying? Why would you do it? All I'm saying is we we do stomp down and we can be independent here And we can't be heard because our people gonna follow us because they love us They're like y'all people follow y'all. That's why I love the game so much. Yeah That's why I talk they talk too because I know already it's a difference I think people got picking shoes too what what they go on these days, man You can't just like the labels used to send people out now with this independent or hustle going on Like we would choose to come here on boss talk Yeah, if I know if I see what they already did to boost it. I'm not even gonna set myself up and go on now Exactly Man, I'm gonna tell you we've been getting so much love from all the artists want to fly in and come on this show We've had them to fly from north carolina to fly to come from l.a From oakland california to be on boss talk with nintendo as soon as I turned it on It went crazy. Yeah Went crazy, but that's why I'm glad y'all here now. I'm solid if I had nobody out in dapless, right? No, we haven't yeah What is that 317? Baby, I see a top three all this of all time man dead or alive man top three all this of all time You first hold on hold on any genre any genre. Yeah Number one Number one's michael jackson. I knew you're gonna say that michael jackson has to be y'all doing it together now I mean that no If you agree with what number two, I gotta go I gotta go marley, man. I got a ball. He doesn't agree Okay, that's cool. Okay number three. Uh She number three. I'm gonna end this thing up. Thank god. I know right man. Listen Mmm Shit, I'm not going to rap at all. Go ahead. Go ahead. Go ahead. Go ahead. Angela wind bush nigga. Come on He's saying It's gotta be all That's very that is the number three is always the hardest top three all genres Every day what man You just froze me when you just did that seven davis junior I was gonna say she's a god. I was gonna have you heard anybody like her. No and I was ever Because that's I owe me and my grandma listened to for like 10 years straight. So that's your number three It's gonna gotta go Yes, I'm marley and patty labelle patty Damn, I like that. Number one. You say Mike. He's number one. Mike number two I got something to ask both of y'all. You know what I'm asking number two We say what number two number two Hmm See I would like to put bob right because Impact records man. Yeah, man. Now this all genres anything you could be because he'll be in there jay-z Kanye's a billionaire. I'm gonna say. I'm gonna say. Yeah, heavy billionaire. I'm gonna look heavy and people are gonna disagree with me All they want you right. Kanye. That's my new and I'm gonna say I'm gonna tell you why this man has done so much You ain't gotta tell me Come on man, number three I'm gonna put bob in number three. Okay, bob in number three yours dope Now I gotta ask you a question. So you said Mike. You say Kanye and bob marley Uh-huh. You say Mike and you say bob marley and you say patty labelle That's dope all y'all y'all are true musicians I agree with you. Uh, and I agree with everybody but pimp see my number one No, I don't play by that. Yeah. Yeah. Yeah, we just listen to that today We say in texas That made you when you got texas, I gotta listen to pimp man We live in the pimp see bomb be oh, yeah Up north when we was little little niggas I got you better say it or tell me something good that first album was a bit too hard to swallow The thing I want to ask you is we had a guy to come on here and he said that michael jackson Chris brown is better than michael jackson and tree daddy just said that too. He was real high I mean, that's the kind of people I don't even respond to because now they just they're reaching somewhere else I don't like I don't know even what's wrong with them. That's like those are those are you can't even I asked which michael jackson, you know Yeah, that's that's definitely many phases, but all of those phases. He's untouchable He's the best at every phase. Yeah What child star was doing what he was doing? No what teenager did? Chris brown did his thing we're running and all that but he didn't do with Don't get me wrong. Chris brown. He was bad motherfucking bro. That has nothing to do with Chris brown could be sitting right here And he's gonna say the same Yeah, and they got nothing to do with something. He ain't everybody know what Chris brown is Well, I can say this brother, man. I appreciate y'all for coming on boss talk Oh go ahead. I just I we gonna we fill the wine it down. I know go ahead We just got one done Okay, um couple things How do you think because you know atlanta where boys think about the music industry to think about atlanta? Yeah, how can we get each of our cities to be like a atlanta where we have everything we need in that city the videographer The um photographers the musician. I mean producers every instead of coming out of our city The only thing we will come out to do is collab Yeah, but atlanta everybody don't just rap. You know what I mean? You got people that's like if I know That he's good at rap. I'm gonna say I'm gonna help push it. You know what I mean? In certain cities everybody so you get a little shine. They're like wait a minute. I rap I rap too. I rap too Yeah, I mean instead he's gonna be good with the camera. You know what I mean? Oh, why why wouldn't he just be the manager And the camera man if that's what he's good and he ain't really good at rap everybody got to pick what they're good at You know how to talk so you might like y'all I'm gonna go talk for y'all. I'm gonna get that record played everywhere But instead you're like, well, then I'm a rap. I'm nuking and bugging doing clue You know, I mean everybody play your position play your position and you're gonna win the game and atlanta do that That feel like bro, they ain't trying to be I got something coming next week From atlanta. I just we just talked to him today. They want to be on boss talk I don't have a few fly in I'm telling you they come. Oh, yeah. Yeah boss talk for the blow up on y'all It's like dang, how they just I know them I was on that show. Hey man, let me in My last question Okay, our kelly. Oh my god I Know when you think about um The case that's against him and all the females because my point of view on stuff like that is the fact that the parents You know, what I mean the parents took these kids dropped them off over there They knew what was going on all of this could have been stopped Like why are you taking your kids to this grown man house? Yes, he's popular and you want to get your studio Whatever you want to get them known You know what might happen you have my daughter will stay home.  What do you think about? Do you think the parents should be charged for for all of this? That should definitely be held accountable For sure because I mean The kids didn't walk over there You know I mean and he almost made my list All I'm saying is listen, bro. He's a great. He is a great decision. If you don't say rmb king Man, listen, he almost made my top three. I know y'all mad about it. Y'all mad. People scared to say it People scared to put him as a top anything because it's scared to be look at in a certain way I don't worry about that.  Yeah, uh, I decided uh all those songs, bro You can't take it away from legendary. Hey, bro. You can't what you're gonna do. He wrote for michael legendary And they said he couldn't write. I don't know how he done it exactly I'm just telling you some His music are we gonna take it out of radio. You're not taking out our mom radio Can't do that now what happened it happened and I hate to say it Um, ain't that we can go back to do the change what happened during the time that happened And we don't know what the truth is to everything to happen either I think over time people have Fabricated certain things and some things may have been worse than others, but I guarantee it ain't the truth It ain't the truth You're not dealing with the truth right now You're dealing with a truth that people want to make their truth right and they're gonna put it on you bill cosby Yeah, come on 83 to 60 bro, this is by something that courtroom is not for people of color Y'all don't want to hear that, but it's the truth Go up in there then go on up in there and see what happened. You know the scales ain't like that for no reason You know to the scales they said like that all over the country right they're not even they're not balanced for a reason exactly I know y'all. Hey man. I don't know how we got in that. Thank you very much. Miss jamaica for pushing us over into that world Hey, man, we love y'all guys, man Truly raw story is going down man anytime y'all in texas y'all know we gotta link up You know what I'm saying? Thank y'all for coming on boss talk 101 Already it's been another great segment of yeah


We consider each of the three types, okay, stop it, tighten it, tighten it up more, you got to tighten it.