You'll Hear It: Full Album Deep Dives with Jazz Musicians - Venues: The Good, The Bad, and The Crazy

Episode Date: August 31, 2023

Adam and Peter tell all in this YHI episode. Join in as they dive into what venues were awesome and which ones were... not so awesome. 🔥Generation S LIVE Album Recording 9/7/23 at 8pm ET: https://youtube.com/live/2nFQKgKWsyc🇪🇺🇬🇧 Euro/UK edition 9/7/23 at 20:00 CET: https://youtube.com/live/e-4BL4IoE2oHave a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open Studio🎹 Head over to our YouTube channel for a better look 👀.Follow us on Instagram

I'm Adam Maness. And I'm Peter Martin. And you're listening to The You'll Hear at podcast. Music advice coming at you. Coming at you today. Music coming at you. A little alone together. Music, music, music.

Why is that such a fun tune to play? What is it about that tune that makes it sort of immortally fun to blow over? Yeah. Feels good. Sounds good. Yeah. Great melody. Easy melody.

Yeah. Nice. Kind of diversity in the chord change. Yeah. These little bit unusual structure. Yeah. A little. But then.

A couple extra bars. Yeah, and then the B section. You know, a little Knight Tunisia bridge. Yeah, very basic on the bridge, but a little bit off-kilter on the A's with the extra bars. But it's always that balance, right? Yeah.

That's juneziqua. Yeah, works really well. Maybe something we should have done this weekend because we played a little two piano gig this weekend in beautiful Charlotte, North Carolina. Right. At Jazz Arts Charlotte. Shout out to Jazz Arts Charlotte.

They're doing great stuff over there. They really are. Yeah. It's a great organization. They have a wonderful educational arm of which we were, got to be part of by doing a workshop for some, those were all high schoolers, right? Maybe some middle schoolers? There was some middle school and high schoolers.

Shout out to Patrick, the education director over there. And of course, Lonnie Davis, who heads that whole operation. Yeah, the executive director. It's really, really great. Wonderful venue within, embedded within the Blumenthal Center. Yeah. Deep in the Bank of America Center. But, you know, I had played in a different, there's quite a few venues in.

in that building. They ran into some interesting things about that building. We did. We did. Not us, but... No, no, no, no. But it's good to see the next generation, the bumper crop of young musicians. Okay.

Coming up in the Charlotte area. Fantastic audiences. I know we're going to talk about venues in general today, right? Because we have a speak pipe. Yeah, we've got a great speak pipe from Linda, who is... He talks about a few things on a speak pipe, but one of the things that really piqued my interest

is asking about what we prefer with venues. So we thought we'd call this... So you're saying that you ran into this question earlier? Yeah, I did. And it really tore me up at first. But there's like two people that are getting what we're saying. That's right. But no, I thought we could talk about venues, the good, the bad, and the crazy.

Because we've played... I know we've told stories before, but there have been some crazy venues. Yes. I've got some really good ones because... I mean, you've done a lot... You've been Cush gig for years. now, Peter. Well, the crazy ones are probably not going to be the cush gigs.

The great gigs are not always the cush gigs. Great venues are not always the Cush gigs either. Some of the best venues ever are not Cush. Right. They're, in fact, the opposite, but there's, you know, we'll get into it. Speaking of Cush, I just want to make a little shout out and congratulations to you for your wonderful short video. You know, a lot of folks, we've been really pumping out some, I think, incredible short

content, mostly when I say we, I mean you, Adam. We've collaborated on a few. a few, but you have just been, had an incredible output really this whole year. And I think that the response, now by short videos, we've talked about this before. It's basically a minute or below due to restrictions placed upon us by the YouTube corporation. It has to be less than 60 seconds. Less than six.

And when we say it has, I mean, like, if it's 60, if it's exactly 60, it's rejected. But CushCords was a great video that you did relatively recently and has just passed over the one million. Actually, it's probably like 1.5 million on all platforms, if not more. But it passed over a million on Instagram over the weekend, which is super exciting. That's kind of cool. Yeah, kind of cool. Thanks everybody for all the support on the shorts.

Love seeing all the comments on the shorts. Love all the discussion around, just these little nuggets of ideas. We're having fun with it. Can I ask you a question before we dive in, though? Yeah. What is this situation? You've got three beverage containers for the listeners here. I got rid of that big ugly thing.

Did you get rid of it? I mean, I didn't, I got rid of it for this physical space. You don't bring in, you don't bring it into work. You know, we're reducing reusing, so. It's not, I'm not. This is, uh, water. Okay. It's 106 degrees outside.

It's really, it's stupid. The humidity is at 101%. I don't even know how that's possible. However, in our building in the hallway, it's about 55 degrees. Yeah, it's frigid. Yeah, it's frigid. So this is water. I'm already on my second one of these today.

Okay, he's got, for the listeners, he got three beverage containers stacked in front of him. Right. Like, uh, I mean, I feel like it's a bit of a little. I don't want to hide them. in the back and I don't know. Do you ever watch the office? It's like Dwight Shrut building like a, some kind of barrier, some kind

of wall. Right. So that's water. What's in the gray one? This is smoothie that I made this morning. Okay. Got to stay. Huh?

Got to stay. Is that protein or something? There's some protein in, but it's mostly fruit and peanut butter. It's actually kind of disgusting sounding, but I like it. Okay. Walnuts, peanut butter. I love some Walnuts.

I love some Brazil nuts. I love some Brazilian nuts. A lot of antioxidants. Yeah. Flacks seeds, ground up. Superfoods. Superfoods. shake is what you got here. Bananas, some soy milk and all natural, no sugar.

There's, I'm going to tell you something right now. Dates. There's not a single inch of this guy is inflamed right now. Nothing. There's no inflammation. Not with that shake. That comment is inflaming me. Yeah, yeah.

This is coffee. Ever heard of it? Okay. Shout out blueprint. Yeah, yeah. Okay. Master of the $196 coffee. Nice.

Anyway, we have, I just want to do a little, yeah, Caleb liked that one. Caleb doesn't always, wait, can we get a little Caleb Cam? Are we, look, look, see, he's smiling. That is not how he normally looks when we're doing this podcast. But we are, shout out Caleb, producer Caleb. We are doing a recording here in about two weeks, probably in about a week from when you guys are hearing this. And I want to invite everybody on the pod here. Oh yeah, yeah, yeah, yeah.

It's going to be September 7th. Hell yeah. Yeah, I've heard of it. Yeah, I've heard of it, man. I cannot wait. It's going to be nice. We're doing a live recording that's going to be live stream on YouTube. We'll have a link to it below.

It's available for free to every. everybody around the world. 8 p.m. Eastern, Thursday, September 7th. I'm premiering a new quartet that will be playing together for the first time that week. In fact, on the performance. And we're going to make a record in real time.

It's called Generation S. Gen. Actually, after this, I got some production questions for you because you asked me to kind of help with some of the producing. I ask you to produce it. Yeah, let's meet after this episode. We'll do an episode on production at some point. Sounds good. I got some questions.

That's so exciting. So, yeah, do not miss September 7th. We're going live in the afternoon here in the States, and that's mostly for our European friends and then the evening for everybody here. It's going to be crazy good. I've been following your journey as you've been writing this, and you can also follow Peter's journey here on his own Instagram

or on the Open Studio Instagram. We're sharing a lot of stuff, too, about his composition process. It is fascinating, so do not miss that. Okay, shall we get to today's speak pipe? Yes. This is from a very familiar name, Linda Meredith. Yes. I feel like we've seen her around.

And so let's check out. She's a friend of the pod. A friend of the pod. Let's check out Linda's question. Hey, Peter. Hi, Adam. It's Linda from Southwest Florida. Pete, I think the last time I saw you was at the Kennedy Center with Diane Reeves.

Too long ago. Hey, can you talk a minute about Diane Reeves receiving the Maria Fisher Founders Award and what that means to an artist? Also, how about an episode? relating to your favorite performance spaces. What makes a great one? And what about bothersome audience members talking during performances? Do you hear it and how do you deal with it? I once saw I Leon Elise at the Eurydium stop playing.

Also, what do you hope a jazz neophyte gets out of a performance? I listen to every podcast and even though I have a minimal music background, piano, guitar, and trumpet, and don't understand 75% of what you discuss, I do admire the talent and knowledge that you've worked years to attain. So I'm both educated and entertain. So keep up the useless dribble. Hey. Can I be a friend of the pod?

Yes, Linda, you are definitely a friend of the pod. Thank you so much for the lovely comments and for the great topic suggestions. We will definitely cover a couple of things. of these. Let's get out of the way, before we get to venues, let's get out of the way first, the talking during the performance. We had a little bit of that actually in Charlotte, and it was one of those situations where it was natural, and it was like, it worked with the room and with the crowd, you know, that we had, and it did not bother me very much at all. Like, it was not distracting me. I was, because they were like talking about the music and there was some. I would say

mostly. There was one guy kind of over by me. We were sort of physically separated. I heard him. Yeah, Yeah, yeah, yeah. It was kind of like some just talking about what was happening later that evening. Yeah, that gets annoying if you can hear it. And he was like right in the front row. Yeah, come on. Yeah. So that can be like a little bit jarring, Linda.

But I personally, I've seen artists stop a show. And in my opinion, it never is a good look. Yeah. It never works for the artist. Like, I mean, maybe it works for them because they really can't concentrate. But it always seems a little self-serving. Yeah. in my opinion.

At least when I've, I didn't see the, the one you mentioned, obviously, but I've seen it happen a few times and I'm always a little cringy about like, surely there's a better way to deal with this

than to scold a room full of people. Right. I mean, I do think it, it does get to that point occasionally when that's sort of a last resort. I think then it's okay if it's, because there is a certain,

like sometimes you can feel an energy that there's just a few disruptors. in the audience and that the rest of the people are kind of like, like it shouldn't be up to them to tell them, although that that certainly happens. I've actually been shushed at a show recently. Hey, which is a little embarrassing, right? Really?

Well, but it was an outdoor, a huge concert. You know, every year the St. Louis Symphony does an opening concert at Forest Park that's free on Art Hill. I mean, it's like 10,000 people there, maybe even more. Yeah. And we were sitting pretty far away. And like you bring a blanket, you bring some food and wine or whatever. There's food trucks.

It's not your typical classical. Some people will ask you to shush at Art on Arnhill. We were there talking. We were with some friends. You're on a blanket. See, this is what I'm saying. That's a totally appropriate place to have a conversation. Exactly.

And we weren't like yelling. It is a classical concert, though, so I get that. I kind of get it. I don't know. I'm not a snob about this stuff at all. Here's what I think. I think it should be really on the venue. Yeah.

And like the artist should really communicate to the venue. Listen, if people start talking, it's up to you and your staff to really communicate that that's not okay. But you like that thing when, you know, some venues are like, we're a listening establishment. And they'll even say that. Yeah, if that's what we want out of it. Or they'll have a little, you know, sign on the, on the... Keep your table conversations to a minimum.

That's weird, though. I don't think so. I think it should be more of a... I mean, you never... No one ever says that at the village vanguard. No, but you would get shushed at the village vanguard. Right. The venue will shush you or kick you out if you talk up a bunch.

Right, but, but there's also a certain culture of it being a, like I feel like you can't say like, you know, we're a loving. It's like you go to somebody's house and there's a sign. We're a loving family. I don't know. I kind of, you know, I kind of. Can you just be a loving family? It's a little bit of a guideline that you can set. I mean, a lot of people don't realize that, you know, if they don't have a lot of experience going to a jazz venue.

Well, just, you know, look around and see what's, read the room, as we say. I mean, if you don't like that, you don't like that, but I like it. Especially if that's what you're saying. I like to be told what to do. No, if it is the sort of unwritten, if it is an unwritten rule, like we shouldn't talk during this concert, I like for the, you know, that's what I'm saying. I like for the venue to be like, hey, listen, this is a listening room. I like actually what Victor Goans has been doing up here at Jazz St. Louis he has been very clear he's been like we are a listening room please don't you know keep

your table conversations to a minimum but this is an interactive art form if you want to hoot and holler please do if you hear something you love please let the artist know i guess that's the perfect balance to me i just guess i miss the time and it still exists some places where that's the it's not about maybe it is about being an educated audience like you come to you come to bring your energy as an audience member. There has to be some experience level of attending a performance. Or it's like you go to an art museum and do you have to have signs, please don't spin on the paintings. Like, isn't that kind of known? You know, please don't touch the paintings. It is, but there are, I mean, to be fair, there are literally dozens of different types of performances of varying

volumes. If you're at a rock show, it's expected that you're going to be screaming and talking and dancing. But there's no signs that say it's okay to scream and dance. That's what I'm saying. It's like there's a culture around. But if you're at some venues, for jazz even, that is also expected and encouraged. And it's fine. Like, you know, when we were playing Thurman's every Thursday. You never said, we would appreciate you hooping and hollering. And sometimes it was like you could hear a pin drop because everybody was super focused on the music.

And sometimes people were like up talking, socializing partying. And both were fine with us because it was kind of the vibe. I do think there is like in people's defense, like if you're not clear, it can be very confusing. especially if you're at a club okay we're at a club i'm eating right there's food you know if it's bright outside that like if it's super dark and you're a concert in a hall that's one thing but if you're like at a table with three other people and there's and you're eating and like do i talk or no i don't know you know like well that's that's that's a that's a you bring up an interesting point because a lot of these venues orient the seating and i'm i mean certainly clubs but also even like some larger venues i remember

doing some concerts at um what is that place like the shimmer horn or something in nashville the symphony hall there the matter horn no that's in switzerland something whatever that that hall is and it's like a beautiful it's not old it's kind of a weird place but it's supposed to look like an old European concert hall um i mean it's like you know classical baroque architecture are those two different things who knows yeah but you know i'm saying like you walk in and you're like wow this is wait Nashville didn't exist in 1784 but this building looks like it did well Memphis has a pyramid. Something going on in Tennessee. Exactly. Yeah.

But I'm saying you, but then for like when they have sort of jazz pops concerts, instead of seating in the orchestra level, they have table set up. And so that encourages talking because the tables orient

some people to be sitting looking at each other. Yeah, of course. And so a lot of these jazz clubs, and think about the Village Vanguard and even like the blue note in New York, all the seating, two tops and the table. Two tops and the seating. They're oriented towards the stage. That is a must, yeah. Yeah.

Well, this brings us back to Charlotte and Jazz Art Charlotte. They had a great setup there. That was all oriented towards the stage. And I guess this we can shift now to what. You solve the problem. The things that make a good club or a good venue are, for me, one of the things that I love, no matter what the size of the, you know, club, theater hall stadium or whatever, is it has to feel somewhat in the same.

intimate. Like, I do not like some of these outdoor festivals where I feel like I'm a mile away from the audience and there's a barrier and you're up 20 feet high or whatever. Like, I actually don't love that feeling. I feel like this music is best communicated when people are literally right up on you. Yes. You know what I mean? And so that was what was so great about Jazz Arts Charlotte is like the whole orientation of the room and the way that they were sort of tiered out. So they had sort of a set of two top tables surrounding the stage, the stage where the musicians are on the lowest part of the room. Yeah. And then those two top tables and there was like a menagerie. And then, yeah, and then there were tears that went above, which is this is my

favorite setup actually, not where you're up, but where the audience kind of goes up, you know, similar to what a theater does. But, and that was incredible. Incredible. I thought that was a great vibe. Similarly, any kind of, obviously, Village Vanguard setup is also great because people are on top of you and you can, you feel like they're all around you. That is when the vibe for this kind of music, I think, works best. Right. Agreed. Okay, so we've talked about some great venues. We've talked about some not so great venues or at least setups maybe that. Well, what makes a bad, what makes a bad venue? What looks like your number one? Well, I think, you know, not having that intimacy. And that's not always a sizing thing because you could have a small, you could have a small,

room that doesn't feel intimate because the orientation of the stage and the way that it's seated I say it all the time is set up right the Sheldon up here yeah holds like 750 people but it feels like you're in a living room like everybody feels super close right right and that's another kind of orientation thing yeah the sound the sound I think um it's funny we've talked about a lot of things besides that's the biggest thing that's the biggest anti-talking thing like if the sound is really good and you have it set up intimate that's going to cut out a lot of people that's true even thinking about talking that's true I mean.

Yeah. Because it's going to, of course, the performers, we got to bring it, too. Like, we have to play something that makes it so that the audience takes notice. Takes notice and is more interested in hearing what we're playing than hearing what each other say. I know. You know, and I think there's always room for, like, you know, whispering something like, who, check that out or even speaking, you know, not silently, but close to silently,

like, a little bit of, like, whispering or something. And definitely talking to the artist. Like, feel free to shout out whatever you. want to, like, I mean, to a point, but to be like, you know, to give us your like, especially if you're loving it. Right. You know, that feels great. Yeah. It's weird though. Sometimes, you know, like when, like a good woo. Exactly. Can really, can really set off a crowd. When I go see friends play, I like to be like the whistler, the wooer, because I know that there's an art to that. Well, because that'll get everybody else in the crowd sort of like loosened up for that. Yep.

And I know that can change a room. I like doing that too. And I love when people do that at really interesting and intelligent times. You know, if it's like, You know, that's, that's, that's low-hanging fruit, of course. Yeah, yeah. But like when you do it, I pick that fruit all the time. But sometimes like something kind of, you know, intricate or a little bit almost subduedle happen between, say, like, the snare drum and the pianist or some inside baseball stuff to really appreciate that and give a woo at that time.

I love that. Because that shows to the sort of collective intelligence of the audience. Even if it's just one or two people, that kind of stuff can start to, like you can learn how to listen by following. some people in the audience. You know what I mean? Like how you can be like, wait, what was that

that they were reacting to as opposed to just? I mean, there's nothing wrong with the obvious stuff and the big buildup. Totally. But it's great when that energy is reflected back from the audience. And I think that that's as much about

how the venue set up, where it is kind of the, I hate to say the intelligence, it's not the intelligence of the audience, but it's sort of the musical experience and intelligence of the audience. You know, the sort of collective, like how much stuff have they heard,

how familiar, not with what the chord changes are, but just how to respond to music and how to talk about later an emotionally impactful performance. You know, a lot of these venues, especially if they're in a place like, well, it's different in New York because you have so many venues. You've got so many different people. You've got tourists and everything. There's just so much going on. But some place like Charlotte, like we just play, it doesn't have, it does have great venues, but doesn't have a lot of different jazz shows happening at the same time.

So it becomes the thing with the fans where they talk about, oh, did you hear Brand for Marcellus, who had just been there, I think was the performance. in there before ours. And then, yeah, I loved it when they did this. And it's like, oh, I'm looking forward to this next thing. It's part of a whole culture of appreciating music that's intertwined with the organization, with the audience, with the venue, and with the performers. One more thing that could really kill a venue for me too is like, and this is for any size, any kind of venue, is when they don't respect like the music and the fact that they have

live music as much as the people that are making it. So like one of the things that was great about us this weekend, was I felt very taken care of. And like, you know, what we were doing was appreciated and respected. Right. As soon as we got there. Like, they really had a very, like, we take this seriously. The sound was on point.

Like, you know, all the little details, the green room and there was water. And, like, you know, I know silly things. Right. But you play even some theaters. And it's just like, sign in in the back, you know, like, yeah, like you're treated. It's a vibe that you catch from little. different touch points. You feel like the help or something, right?

Right. Instead of like, oh, this is, there's art about to be made here and like... See, this is the way a one million Instagram guy talks. I'm starting to see what it is. See how the bar is raising it up? No, no, no, no, no, no. No, it's not even about...

Kail's not even about... It's not even about... It's not about, like, being pampered. It's just about, like, you said, an attitude or a vibe about like... An attitude of gratitude. What is this for? Is this here to make... You have this venue here just to make money,

or you actually like in love with the music that you're trying to present. Right. And I think that, you know, we come to it very much from a service standpoint. So it absolutely is not about being pampered or like, do you know who I am. But it is about like, will you help me as I help you? We're all on this collective thing to serve up a great experience for the audience. A communal thing of beauty for the music and for the people tonight. Like how was that best to do?

Yeah. So like if we don't have to run out and be like trying to find some. some food and we can kind of chill and have some snack. That's going to make a better performance. Or you get there and the sound guy isn't there yet. Yeah. And he gets there and he's kind of surly and then they're like, and then they're like, yeah, we didn't mention this before, but we're going to take 20% of your merch sales and like all

that kind of stuff. It's just like, man, come on. Like let's be, let's clearly communicate. Let's everybody be professional. Right. And that happens more often than you might think, even amongst like professional venues. Right. Right.

And yeah. So when we talk about a great venue to kind of get back to. And by the way, just on the flip side, there are musicians who aren't professional either. Exactly. That's what I'm saying. We're all, it's all like a team effort. But it's sort of like when you, especially when you're doing this like night after night, a bunch of one-nighters, like you've got to be locked in. A lot of it's the communication beforehand and kind of letting them know how you operate and them letting us know how they operate. And sometimes you know before you get there. Like this is going to be great. It's not that everything's going to be perfect and we can't adjust or whatever. But it's like you know you're all on the same page. It's kind of like, We're all professionals and we all understand what the goal is. And it's very exciting to me because a lot of times it's like you get there. And it's sort of like from the moment you arrive at the airport or whatever, it's a partnership, but it's a 24-hour partnership with the venue.

And it's like everything kind of culminates with the performance that evening. And a great venue has a great staff, has a great leader of the organization. Like it all works together. And that puts us in the position and puts pressure on us as performers to really deliver as it should. All right. Let's talk about the crazy. We've done the good. We've done the bad.

What's the crazy? I'll start. Okay. Crazy is, and this has actually happened, there is a church prayer service that we have to wait till it's finished in the nightclub happening by the bar. Wow. I know. Kind of a cross-cultural situation.

A bit crazy. A bit crazy. And then, oh, and the same gig. Then they do have a piano. Where is this? But it's, this was in Appleton, Wisconsin. They have a piano, but it's in the other room. And would I mind help?

moving move it onto the stage. So lift it. Lift it on to the stage. Brains and brawl. I'm going to call a couple of friends, and if you, me, and a couple of friends can get that piano on stage, you can certainly play it. Right. Isn't that great?

That's crazy. Yeah. That is crazy. Shout out Appleton, home of Lawrence College, I believe. Yeah, I guess so. Okay, so crazy venue, as soon as you mentioned that, I always think of, for some reason, animals at the gig. the intersection of animals

that could be anything from a rat in a club but I'm thinking more I did a gig in Perth, Australia shout out Western Australia I've got some crazy animals down there Right and at the It was a big like outdoor Well it was kind of like this Forest Park thing Because we were playing with the symphony

The Western Australia Symphony in Perth which were great One of the best orchestras I've ever gotten to play Super great players and just professional everything But we're rehearsing in the afternoon outside. It's going to be like an evening concert as the sun sets. Big stage built up in this beautiful kind of part. Well, it was in a park, but it was sort of in the city. It was beautiful. And there were kangaroos at the rehearsal that bounced over to listen. That's amazing.

It was so weird. I thought that they were like trained or that it was a kid in there. Well, it could have been an adult. Kangaroos are big. Don't sleep on kangaroos. They will kick your ass. No, they will. They're known to kick ass. That's what they do. They've got those big, those big feet for a reason. But I'm up there on stage and with these things with the, with the orchestra, there's always a lot for me to do as musical director in terms of coordinating. And it's always time pressure because like we're rehearsing a 90 minute show in about

90 minutes, you know? But when I saw those kangaroos, I was like, hold on a second. I was like, I got it. And you know, all the people in the orchestra there were like, what's your mind? This is, okay, that's, give me an Australian accent. Clue me in here. That was really bad. NAR?

NAR? That's my note. That's how they say. Oh, Naur. Oh, Naur. Put another kangaroo on the bar. All right, we got to stop. Love you, Australia.

Love you, Australia. No, but these kangaroos bounced over, kind of far away, and then came a little close, and then sat there and watched us. That's beautiful, man. I love it. I got another crazy one. Yeah. Playing an outdoor festival, I believe it was like some kind of food and wine and music festival.

And crazy programming. So we were playing sort of like some soft Nora Jones-esque singer-songwriter jazz. Yeah. And we were after a great. group of rap artists that performed that were

enormous people like 300 pound men who had like you know like that kind of like beat going and no shirts

and tons of tattoos and then we were next and literally the host of the show because everybody was so amped up from the rap artists who I think had

a bit of a hit at that time had to say like all right listen up you're all about to get an education in jazz so shut up oh i love it when they introduce you like that was one of the crazy i was like like take your medicine i was convinced the crowd was going to start throwing batteries at us because it was just not a great fit that was a crazy billing that's crazy we should have been like that was at 11 p.m. too when we went on we should

have been on that day at like three o'clock right of course of course um all right well i think we covered it. I feel enraged and crazy right now. So that's, that's awesome. That and crazy. Thank you, Linda, for the great speak pipe. If you want to listen to a speak pipe, Peter, where would our, if you want to, if you want to, if you want to, my brain is a little crazy. How many cups of coffee did you have this morning so far? About eight. If you want to leave us to speakpipe, Peter, where do they go? Go to speakpipe.org. No, no, no, no, no, you'll hear it.com. You'll hear it.com. And you can leave it there. And don't worry about perfection. I know you might intimidated by Linda's beautiful oratory delivery of her questions. But you have several chances

to do it, so feel free to do that. And we may or may not put you on the air at some point. We're a little overwhelmed with speak pipes right now, to be honest. Don't worry about speaking correctly. I mean, I obviously can't do it here on the show. Right. Until next time. You'll hear it.