OutKasted Conversations – Episode 9 – Clint Fluker, PhD
Regina Bradley: Hey, what's up, everybody? I'm Dr. Regina Bradley, and this is OutKasted Conversations, Season two… What episode we on? Nine? Nine…?
Clint Fluker: I don't know. *Laughs*
Regina: Nine sounds right. nine sounds right. Uh, *laughs* and my guest today is, again, one of the homies, one of the really good scholars, Dr. Clint Fluker. I'm not gonna mess up your title. Tell the people what the title is. *Laughs*
Clint: Okay, my name is Clint Fluker. I'm the Assistant Director of Engagement in Scholarship at the Atlanta University Center Robert W. Woodruff Library.
Regina: Oh, excuse me.
Clint: Yep. I got it all out. You saw that?
Regina: Gotta put it all out- But, I mean, that’s a long-ass business card though too, it’s like-
Clint: It certainly is *laughs*
Regina: -then turn it on the back. *both laugh*
Regina: Then it goes and keeps going. Um, so, alright, you know you what you got to do to get into the club. How did you become OutKasted?
Clint: Alright then. So, I like to kind of tell people this to start it out.
Regina: Mhm.
Clint: My mom's side of the family is all from Atlanta.
Regina: Oh. Okay.
Clint: Um, but I started out growing up, in the beginning, in Nashville, Tennessee, and Rochester, New York.
Regina: Ooh.
Clint: So, we didn't move back to Atlanta - or my mom didn’t move back to the Atlanta with family – ‘til I was, like, twelve, thirteen? And I don't know what was in my CD case. *both laugh* I imagine it was a combination of, like, Green Day. *laughs*
Regina: Oh, okay.
Clint: You know, like that kind of stuff. So, I was walking around Atlanta with this. And I went into, I think it was, like, seventh grade - that's why I- I came back - and one of the eighth graders- he saw what I was listening to; he was just like, “Let me- let me take a look, let me see what you got.”
Regina: Oh boy.
Clint: And, you know, he's, like, flipping through, flipping through, and he got that real disappointed face on him. *both laugh* I’m new. I’m- I’m trying to get-
Regina: It's not looking good for you, chief.
Clint: No, it’s not looking good. And he was like, “You ain’t got no ‘Kast.?” And I wa- I was like, “What are you talking about?” And he was like, “You don't have any OutKast here.” And so, he immediately put me on the Aquemini, he put me onto ATLiens, you know, like, he just became a good friend in that sense, uh, throughout the rest of my time.
Regina: He saved yo ass.
Clint: No, he really did.
Regina: Mhm.
Clint: He really did. And it just- it put me on to- how I could be part of the culture in Atlanta that was already in my lineage and I didn't know. So there you go. That's how I became a fan. And it really did start with Aquemini, so that's my favorite album. I can't lie. *laughs*
Regina: Right. ‘K. Alright.
Clint: Gotta go right to it. But, uh, yeah, that's how I was introduced.
Regina: Green Day, bruh?
Clint: I'm pretty sure that's what it was. I can't lie.
Regina: But like-
Clint: Rochester, Pittsford, New York, is a wild place. *laughs*
Regina: I mean listen; I don’t have anything against Green Day-
Clint: Secluded
Regina: I had a couple Green Day CDs. You know what I'm saying? But it's like *laughs* I'm just laughing because the I don't think that, like, kids today understand the worth, the wealth of the CD book. It was like-
Clint: *laughs*
Regina: -you didn't bring your book, like, you didn't bring your whole book with you to school because if somebody stole your music, it was on. Like, you know what I'm saying? Like, I still have grudges with some of my cousins who stole some of my albums… like my Dru Hill album.
Clint: Yeah.
Regina: You know what I'm saying? Erica, where my Dru Hill album at, Erica? Uh, you know what I'm saying? But it’s a-
Clint: Now once I got my CD case together-
Regina: You got it together?
Clint: Yeah-
Regina: Oh, okay.
Clint: Once I got it all together, now my brother started stealing that stuff. But I had already stolen it all from my older cousin, my big brother. So, you know- *both laugh*
Clint: So, you know, it just it just it just goes down, so-
Regina: So, the music continues.
Clint:
Yeah, that’s how it is.
Regina: Yeah, so, I mean, you know, you do a lot of really dope things. Um, but one of the- one of your research areas that's particularly interesting is that you study Afrofuturism.
Clint: That’s right.
Regina: For the folks who are uninitiated, what is Afrofuturism? So, I think it depends on who you're talking to.
Regina: Okay.
Clint: So, I’ll kind of, you know, run you through a little bit of it and then, like, where I land. So, if you're talking to some groups, I think that in the general, uh, public, like when we hear the term Afrofuturism-
Regina: Mhm.
Clint: -usually what people are referring to is just black speculative fiction writ large. It’s become like an umbrella term for black science fiction, fantasy, things like that. Um, that's the way it’s used popular. Um, with, uh, another group of people, I think it's become something that's a little bit more critical-
Regina: Mhm.
Clint: -that deals specifically with science fiction and the language of science fiction. Um, and so we see a lot of, like, sci fi iconology, um, iconic- icono- ugh, what’s the term I’m looking for? Um-
Regina: Iconography?
Clint: Iconography. Thank you very much.
Regina: *laughs*
Clint: Um, we see a lot of that. But, uh, really, what I'm interested in is not just Afrofuturism that goes, like, a thousand years into the future. I love that stuff. Don't get me wrong. I got a whole PhD studying just that.
Regina: Right, right.
Clint: But I think that what I'm really interested in is how do we use the metaphors, how do we use the language of science fiction, to think critically about the present day and where we will be five years in the future, ten years in the future, fifty years in the future. Um, so what I think Afrofuturism does best, um, and there's a lot of great definitions from people like Alondra Nelson, um, Kodwo Eshun, Greg Tate, uh, people R- Reynaldo Anderson with Afrofuturism 2.0, people have done some great critical thinking about this, is it is a tool that we used to interrupt, uh, mainstream narratives about where black people, um, will be in the future.
Regina: I really like that language in terms of, you know, it’s used to disrupt what folks think that we can and what we will do, um, and, uh, you know, OutKast does that a lot, especially on ATLiens, like, the whole album is after a futuristic, right? From the use of spaceship sounds to the comic book, and they're fighting and all of these things. So, you know, could you- could you kind of walk us through how Afrofuturism could help us understand the significance of that album?
Clint: So, I think that Scott Heath does a really good job with this, um, in his essay on, uh, the Planetary South, I think he calls it. Um, and there was a great, great symposium which I could not attend. That was Jackson State University called Planet Deep South.
Regina: It was dope. I was there.
Clint: Yeah, that's what I hear.
Regina: Don’t be mad. Don’t be mad.
Clint: Everybody else was there, and I wasn’t there. *laughs*
Regina: It was like homecoming in February. It was homecoming in February.
Clint: That's what I hear. But you know that- that whole crew-
Regina: Right.
Clint: -you know, we in the AUC now. So, we gon do it again.
Regina: Okay, well then, we gon see-
Clint: So get ready in 2019-
Regina: Oh, ‘scuse me.
Clint: Yeah, yeah, I’m just saying.
Regina: Aight.
Clint: But I think that what Scott does really well, uh, with the idea of the Planetary South, is he thinks about artists, musicians like OutKast. He also goes into other rappers like, um, Lil Wayne and the like, people who might use, uh, science fiction language in their work. Um, and he says that, really, what they're doing is they are reorganizing or re-thinking, like, the directions of, like, northeast, southwest, and how, when you're, you know, in the south, or when you’re in the north, basically the- everything is about due north. Like, where is true north? Uh, from north is where you can deduce where you are. Like you're looking for the North Star. Whatever. So, now I know where east is, I know where west is, I know where South is. In that context, everything is derivative of the north, and you are looking at the south, and, stereotypically, the south becomes the opposite-
Regina: Right.
Clint: -of whatever is north-
Regina: Right.
Clint: -so historically he goes into a great argument about how, you know, like, in in the past, when enslaved people were trying to get out of the south, they were getting out of the south to go to the north because that's where quote-unquote freedom was. Um, now what we get from that is this historical backdrop of just sort of, uh, this history of looking at the- at the South as backwards or antiquated and the like. So, by putting your narrative, your new narrative, like as in ATLiens, or as, like, we're coming from Stankonia, by putting yourself in the space, the directions that were there on the land no longer matter.
Regina: Right, right.
Clint: And suddenly you can have a new narrative that again counteracts, uh, the mainstream narrative about what it is to be from the South, what it is to be from one of these Southern states, or what it is like to be from Atlanta-
Regina: Got it.
Clint: -specifically. Um, and I think OutKast does that an amazing way. And they also participate in a lineage of people that do this, um, as musicians generally. So it fits into this conversation about Afrofuturism. When you go back to people like Sun Ra who said that he was from Saturn, or you go back to George Clinton and Parliament Funkadelic. Um, you could do the same thing if you skip over OutKast and you go to someone like Janelle Monáe-
Regina: Right, right.
Clint: -and you think about Wondaland. They use very similar language about where they're from coming from the future. And I just think that that's what OutKast has really landed us with, um, when we think about the directions and what the south means.
Regina: I mean, ‘cause, like, immediately when I think Afrofuturism and OutKast, I automatically go to the “Elevators” video. *both laugh*
Regina: I mean, the video was brilliant, right? On the one hand, you're pulling from like Predator.
Clint: Mhm. Mhm.
Regina: You know what I'm saying? And you have, like, them putting their hair in prints and only the folks and the hazmat suits can see it.
Clint: Yep, yep, yep.
Regina: And then ultimately, like, you know, like you said, the promised land usually, especially when you think about southern folks, like you said, the promised land is north ‘til you get there and you’re like, aw hell naw, this is the- *laughs* where’s the promise?
Clint: Yeah.
Regina: This is the land. Where’s the promise? But the promised land for them was returning to Africa-
Clint: Yes.
Regina: -the continent-
Clint: Yes
Regina: -not the country-
Clint: Yes.
Regina: -right?
Clint: Yes.
Regina: And you have the folks who are- basically they see their true selves. You see the pyramids, you see, kind of like, this very Afrocentric idea.
Clint: Mhm.
Regina: And then you also look at, you know, the cover art. Like, they're in there, you know, and Atlanta becomes Atlantis. Atlantis is in space, right?
Clint: Yeah.
Regina: So I mean, like, you know, can you kind of talk about why that's significant for, you know, Southern black folks, particularly contemporary Southern black folks. Because on the one hand, they're speaking to this world building that they're doing, which, you know, southern black folks have built worlds for centuries. But the flip side of that is they’re- they're, like, subverting, or turning on this ear, what that promised land looks like in the immediate aftermath of being rejected –
Clint: Mhm.
Regina: -mainstream hip hop. So-
Clint: Mhm. Mhm.
Regina: -any ideas?
Clint: Yeah, I think that, um, when we think about the African diaspora, when we think about Africa, this is really important with OutKast because we can put it in conversation with things that were happening the same time in Atlanta.
Regina: Mhm.
Clint: Um. so I think about, from an archival perspective at the AUC, we have the Asa Hilliard papers-
Regina: Okay.
Clint: -for example. Asa Hilliard was a great educator. Um, he, uh, spoke a lot about how we have to reach students early, um, when we're talking about our legacy, when we talk about history. Um, and we have to let them know that the Wakandas of the world are not just things that happen in fiction-
Regina: Right.
Clint: -that they’re things happened in real life.
Regina: Right. Right.
Clint: And one way of doing that is to create narratives, um, like OutKast has done, where you are incorporating that kind of imagery and that kind of language into your work so that people start pointing their attention to Africa again, um, and recognizing that there are places like Atlanta where Africans came here by force, but they are here, and they have created this wonderful, um, beautiful, uh, tradition of entrepreneurship in Atlanta, of politics in Atlanta, and ultimately of things like hip hop in Atlanta as well, of culture, of arts, and it's- it's something that we invented. It wasn't something that just came out of nowhere. Um-
Regina: And it's complicated!
Clint: And it's very complicated. But to pull it back to Asa Hilliard real quick, um, what he did in order to, uh, make that narrative clear to young people was he led trips of educators to Egypt and to-
Regina: Mm.
Clint: Liberia, um, so they could learn the history of what black people had done.
Regina: Right, right.
Clint: Um, and if you can see what you've done historically, you can then begin to see what you could do in the future. And I think that that's where again OutKast comes into play. If you can see these stories being told, these interrupted narratives, you can hear it, um, you can see it, then you can begin to see how you could do it yourself in the future. Um, again, five, ten, fifteen years, not just a thousand years.
Regina: Right, I mean and, and, and for the record, you know, there's definitely an understanding that OutKast wasn't the only, you know, Southern hip-hop folks to do it. I mean, like 8Ball and MJG-
Clint: Yeah.
Regina: -immediately come to mind with “Space Age Pimpin’.”
Clint: *laughs*
Regina: You know what I’m saying? So, um, but I- I still think that it's a really important conversation to have is the role that Afrofuturism plays and how we articulate the complexities of what Southern hip hop is and what it can do.
Clint: Mhm.
Regina: So you're writing- you- you’ve written an essay for the OutKast reader that we're trying to finish. Um, can you tell us a little bit about what's- what's going on in the essay and how that, uh, idea of the, you know, like the, uh- you guys talk about like the Afrofuturist sun belt, what that- black belt, what does that mean and how is that useful for this kind of conversation?
Clint: Well, it’s- it goes back to what I was saying before about the lineage that they, uh, OutKast, that they participate in, um, going back to Sun Ra, going back, uh, to George Clinton, um, going back to- to these people. Uh, a lot of the kind of space conversation really comes from people that come from the South, whether it's an Alabama or-
Regina: Mhm.
Clint: -the like. Um, but in addition to that, what we do with the essay, me and Reynaldo Anderson, is we're trying to connect this whole story of the Dungeon Family and bring it back to, uh, Afrofuturism.
Regina: Right.
Clint: Um, and particularly around the idea of the trap-
Regina: Mhm.
Clint: -um, as well, because we- we kind of end by talking about Future.
Regina: Mhm.
Clint: And what a lot of people may have forgotten about outside of Atlanta, because everybody in Atlanta knows *laughs* is that Future actually goes from the Dungeon.
Regina: Right.
Clint: Um, he is, uh, the nephew, I think, of Rico Wade.
Regina: Thought he was his cousin.
Clint: Cousin!
Regina: Yeah, he was his cousin.
Clint: Cousin of Rico Wade.
Regina: Mhm.
Clint: And, uh, it's just interesting. He- he said he used to hang out there when he was younger, like, in the dungeon, while they're cutting the tracks, while they're bringing in the music, while they're doing the whole thing. He's learning the business from Rico and learning how to actually rap from everybody else that comes through there.
Regina: Mhm.
Clint: And it's not just, you know, like Big Boi and Andre. Of course, it's everybody else. CeeLo, Sleepy Brown, I mean, it's like, name the people. Uh, and he gets to kind of see this happening right there. Um, and he also talks, uh- Future talks about in different interviews and also in his music, um, that, you know, he comes from the trap, that his family were drug dealers. And he saw this is a place that he did not want to stay. And so, he started telling stories, and by telling these stories, it was like he was rapping hims- rapping himself out of the trap. Um, and you definitely see, uh, this tradition of storytelling coming from the Dungeon Family.
Regina: Mhm.
Clint: And the idea that in the midst of what could be seen is like, you know, not just a trap, but I think in “Da Art of Storytellin’,” uh, OutKast talks about, uh, the apocalypse. That was in part-
Regina: Yeah, Part 2. Yeah.
Clint: Yeah, Part 2. They talk about the apocalypse is coming. And what do they do in the midst of the apocalypse? They s- they go directly to dungeon. They want to just- they want to just rap. They want to cut one last track-
Regina: Mhm.
Clint: -like superheroes coming out of there being like we’re going to save the world by telling this story.
Regina: Right.
Clint: Future does a really similar thing, um, with his music, where he feels trapped in his own personal apocalypse, we’re gonna tell these stories. Um, so that's what we do with that essay, is try and bring a- a conversation out about the kind of music that's being produced, as well as the- the language. We go into depth, um, into that, about the structure of these stories and how they can be used as liberation technologies, um, in the context of Afrofuturism.
Regina: And I think that ultimately that's probably one of the biggest foundations of what Afrofuturism does for black folks is it gives us liberatory language.
Clint: Mhm.
Regina: This is what it looks like to be free. What does it really mean for black folks to be free? How do we get that? And we go to these worlds that we create or the-
Clint: Mhm.
Regina: -even these apocalypses that we create-
Clint: Mhm.
Regina: -you know, thinking about like John Jennings and-
Clint: Yeah.
Regina: Stacey Robinson-
Clint: Yeah.
Regina: You know, it's not always, uh, nice and- and, you know-
Clint: Naw.
Regina: -savage. Sometimes you have to get to the grit.
Clint: The ethnogothic is, uh, as John calls it, the ethnogothic. Yeah, yeah, yeah.
Regina: The ethnogothic, right.
Clint: I know you’ve done some work with him on that too.
Regina: A little- a little something- a little something, a little something.
Clint: Yeah, a little something, a little something.
Regina: But, um, I mean, like, you know, so with this- this framework that you and Reynaldo are giving us, um, which is brilliant, by the way-
Clint: Aw, thank you.
Regina: Um, how can we use that to think about it, not necessarily just Future but other contemporary Southern rap artists, you, I mean- Do you feel like there are, uh, Afrofuturist tendencies in- in their work? Do you feel like that's been kind of pushed to the side because the South is in a very different space than it was when ATLiens and other Southern hip-hop artists were t- playing around with this idea of- of futures? Clint: Hmm. I think it is influence people, um, a lot. Like I- I think about a different rap artists like Migos are, you know, I mean, like, there's so many rappers in Atlanta *both laugh*
Regina: Let the record show.
Clint: Let the record show. Um, but I feel like this is something that, uh, that happens where we can because someone has done it before, um, we want to do it again. So, like we'll use, you know, things like, hey, I'm coming off of a spaceship. Or, you know, like as Future says, he’s like, I'm the new Jimi Hendrix, you know, it’s like we- we do this. But there are- There is something very specific, I think, about, uh, the work that, um, Dungeon Family has done, and then I do see with, uh, groups like with Janelle Monáe and Wondaland, I see a particular kind of work happening where they're actually reading this material as they go along with it, or they're thinking about, uh, their own kind of, uh, universe in Atlanta, um, and, like, taking ownership of it as, like, a separate place, as a- as the place where ATLiens live. Um, I think about this, particularly when I was, um, uh, at OutKast #ATLast.
Regina: Mhm.
Clint: Um. Did you go? I know you went.
Regina: Of course, I went!
Clint: What- what night-
Regina: All three days!
Clint: All three days? Alright, so I went to the last one with like the Southern, uh-
Regina: Oh, those- I feel- I feel like Sunday was the best one because you had the Dirty South Roundup.
Clint: Sunday was the best one. Yeah, yeah, the Dirty South Roundup. I mean, like errbody was there. It was like Kilo Ali came out-
Regina: Mhm.
Clint: -and I was just like-
Regina: *laughs*
Clint: -get out. *laughs* It’s like you gotta be kidding me. Um, but you had, like, a range of people who are on stage, but also in the crowd, like different ages, different races, everything, and, this ties back into your question, I felt like we were in our own universe there-
Regina: Mmm.
Clint: -um, that was not necessarily started by OutKast, but certainly they became the center of that. And so, in this, this little microcosm, this little universe of- of Atlanta, you talk about liberation, I- when OutKast came out there, I was just like this is one of the best moments I've ever had. *laughs*
Regina: Me too! Me too!
Clint: I was there with my wife. Um, we were there with friends and we were just running into people from all over the place. And we're all connected through this kind of story of being different, of being people from Atlanta, being people from the South. And this was ours. Um, and that in and of itself, caught tying into our identities was liberating.
Regina: It was ours and nobody's going to take that shit from us.
Clint: Um, and- Yeah. And then, of course, Erykah got on stage like, “That’s my baby daddy!” Talking to Dre. I mean, like, it was *both laugh* it was too much. It was too much. But, uh, yeah, I mean, I- I think that it’s influenced other- other rappers, other hip-hop artists. Um, and I can be honest with you, like, that's not, like, my area of expertise is, uh- But I think that for me, it's what we've seen around the city and just, like, how we feel about the city. And in some cases, I don't know if everybody else feels that way. I just know we do, and it makes us feel great. It makes us feel free and that we can do anything because we- we connect this way.
Regina: No, I love it ‘cause I was-
Clint: Yeah.
Regina: -I mean, like I was thinking about EarthGang, for example-
Clint: Mhm.
Regina: -and Young Thug-
Clint: Yeah. *laughs*
Regina: -have- have Afrofuturist tendencies.
Clint: Definitely. Yeah.
Regina: But let me- let me- let me ask- Let me ask you this. What is OutKast’s contribution to the conversation on Afrofuturism? What- What should we take away from that?
Clint: Can I tell you that- another story real quick?
Regina: Yeah.
Clint: The- I- I’ll bring it back.
Regina: We are story-friendly at OutKasted Conversations.
Clint: OutKast and the- the kind of universe that they've created here, or that they have centered in Atlanta, is so pervasive, so a- amazing that it reaches all kinds of people. Um, I remember, and this- this was during the election 2016, my, uh, I won't- I won't say her name, but, a family member of mine *laughs* was going to the Busy Bee and we just sort of, you know, sort of hanging out. And she was, you know, looking around trying to get something to eat. And it was like around one o'clock, I think, and she saw sitting down two people, and she just got so excited. She was like, aw I- I think that's Killer Mike. And she was like, oh it’s Killer Mike! Yes!
Regina: *laughs*
Clint: And this person, this family member, is, like, seven years old. She was like, yo, that's Killer Mike, I can't believe it. When she tells you the story of meeting Killer Mike, she completely leaves out the fact that he was meeting with Bernie Sanders *both laughs* The way she tells it was, like, so Killer Mike was there and it was awesome and we had a little conversation, I took a little picture, and, uh, yeah, he was there with some little white man and didn't-
Regina: *laughs*
Clint: -didn't know who he was. I'm hearing the story because I knew that Bernie Sanders was in town, I was like, yeah, he's running for president. *laughs* Like, that's- that's who he was with. And she was like, oh yeah, I know about him. What I'm saying is that what they have done, it's so important to the city that it reaches not just, like, your, you know, twelve-year-old who's just coming to Atlanta for the first time to live for real and it’s just like, you can't even be introduced to the city without knowing OutKast. To, like, this seven-year-old woman who is just walking around trying to get something to eat. But she knows about the lineage of OutKast to the- to the extent where she's like, yo, that's Killer Mike.
Regina: Mhm.
Clint: That's my family right there. Let me say hello. I just think that's an amazing thing that they can do through music. And when I think about Afrofuturism, to me, Afrofuturism is about the possibilities of, one, by bringing people together through this kind of family, creating these universes, these microcosms, where we kind of work together, we think together, we have community, and then we build together into the future. Um, that is a difficult task if you don't have a coalescing center, um, something true, something real has to be at the center. And I think OutKast has helped us with that. Um, one thing that I'm really interested in with Atlanta, um, generally, is about the development that's happening around, um, the city. We have a lot of, um, people coming from all over the country in New York, L. A., Chicago, um, the like. And they might not be familiar with this legacy to the extent that we are.
Regina: MHM.
Clint: And I've noticed that in that context there's been a reshaping of the lines of, like, how we think about Atlanta-
Regina: Mhm.
Clint: -um, and who is important and who's not. Uh, when we think about Atlanta now, there's a- a narrative about the future of Atlanta that is about this kind of, uh, you know, the city proper. You know, like-
Regina: Right, right.
Clint: -the downtown again. It's like this is what Atlanta is, and we want to build around this and create all of these, uh, amenities and spaces and living, um, and that is a conversation for developers and politicians alike. But what I think OutKast has done, when you listen to their album, they're talking about the Atlanta that I grew up with-
Regina: Right.
Clint: -the Atlanta that my mom and dad grew up with, the Atlanta that my brothers and my cousins grew up with. And that is an Atlanta that is expansive. We all have, uh, ownership over this place. It’s not just about being in the center. They talk about Decatur and they talking about the SWATS. *laughs*
Regina: Mhm.
Clint: They talk about being on the freeway. *laughs* They talking about being in, like, these cookouts outside, you know, it’s like, this is who we are, and I think that we're losing some of that, um, if we're not paying attention. Um, and I- I am im- I'm reminded of that when I think about how important OutKast has been to, like, that- that bridge of, like, the seven-year-old onto the eighteen-year-old. Um, so I just want to end it with that.
Regina: I think that's a great way to end it.
Clint: Cool.
Regina: Dr. Fluker, you know you the-bomb-dot-com. Thank you-
Clint: I appreciate you.
Regina: -so much for coming on-
Clint: C’mon now. Mhm.
Regina: -on the, you know, doing it.
Clint: *laughs*
Regina: I’m Dr. Regina Bradley, this is OutKasted Conversations. We'll see ya next time. Ya'll be easy.
Clint: ‘Preciate ya.