Tim O’Shea, a musician from Killarney in southwest Ireland, says he doesn’t charge to play at weddings or funerals but, rather, is honored to be the soundtrack for the parts of a person’s life on the edge of emotions. O’Shea, along with his bodhrán, an Irish drum, and guitar, his form of the harp, was brought to The Enterprise by his cousin, Dennis Sullivan, who writes our monthly “Field notes” column.

Transcript:

00:00 Hello, this is Melissa Hale-Spencer, the editor of the Altamont Enterprise with really a huge surprise. Compliments of Dennis Sullivan, our beloved field notes writer who has enticed his cousin Tim O'shea who is from Ireland, from county Kerry and is a musician touring the United States. And he has made time to come talk to us. So thank you. Thank you for having us. I would just love to start by hearing about how you came to music. How, how did you become, how did you become a musician?

00:44 I take, it was more a question of escaping it. It was an impossible to escape it. How it has code. I mean Dennis will vouch for that. It's just there have been, it was in your family community at both. Like so tell us about your family. Who, who sings or does what? My father's side, which is a dentist. So my grandmother, Oh, you would've known alongside of having 13 children, she played the Concertina, which is like a smaller cardian and she played with a smile. And I remember having 13 children alone make it hard to have time for anything. And it was always in the old houses. It was above the fireplace where they kept the tea and the sugar and the salt. Everything that had to can be kept, drivers was kept there. I remember distinctly you are putting it on the mental piece, all the important thing and nobody would else touch it.

01:40 Oh my God. So notice true dust not made up to sounds made up. But it's true. It does. It sounds wonderful. So from a very young age, you were exposed to music and my father and all the hard children played outside the Concertina. No, they've, they've demand, just see the constitution was not cool to see it now, but it was the woman's accordion as such because it was more compact and easier to play physically. But the, they played the button accordion, which is one node in one, not out, but it's a bigger machine and, and more, more physical to play it shall we say. And did you master that? I ran from that because it was allowed dangerous thing. So I said, I'm not playing that. No. Everybody in our, and a place what we call the tin whistle or the penny whistle, every school kid in art and gets one of those.

02:32 What do you like it or not? Did you like it? I did, but I didn't like the teaching of it. You just hit absorbed music through your family without having to be formally taught or, yeah, it's a bit of bullet, you know, a bit of both. But that seemed like work with paper and writing out stuff. So do you play entirely by ear? I do, yeah. Yeah. And when did you come to play the guitar? That's the instrument that was the rebellious, I guess at first it was a drum kit in a bass guitar, but they were quite loud. So the guitar was mobile and uh, and it was a big hit with the ladies. And is it still, I don't know. I, I, I don't know.

03:13 So at what point in your life did you start taking to the road and touring? And

03:20 that was a mistake that happened as well. I didn't make that happen. It happened, but what caused it? There must've been. We do live in an island as the first and foremost, so you must remember that. So if you put too many feet going west or east, you end up in water. So when you run out of road, you have to get on a boat or a plane and see what's on the other side.

03:40 And what was your first leaving the country to share your music tour? Where was it? Yeah,

03:45 that's a good question. Well, I have never been asked that question. That's a very good question. Oh, oh, I'd have to think about that. Okay. That's a good question though.

03:55 But I mean, you do, you've done this continuously for decades now, right? Yeah. Yeah. How old are you? I'm very old. Well, you look quite youthful for being very old. Yeah.

04:08 What I've done, I started doing it professionally in [inaudible] 95 [inaudible] 95 I went around the world. I started in London. I ended up in London, but I took in a lot of places in between. Oh my gosh. I took my trusty instruments with me and everywhere when I, I was never threatened, robbed or cajoled into anything, but

04:27 to see the world as a musician. Tell us about that. What does that like?

04:32 I suppose that was before the Internet about 25 years ago. Right. And it was just a going, you know where I wanted to go, just go and you meet people. It, it, it, did you have a favorite place that you saw so many places? What I did like was Fiji is an interesting place to people that are quite interesting. Tell us about Fiji there. Melanesian yeah. Which is to to to to the untrained eye would be African looking people assisting from Polynesian, which would be the Samoans and the Tongans and all them big lads, you don't mess with them. And then they have to micronations which would be the, well we would say Asian, but they are Melanesian and they're quite interesting. But then back in the battle days when the British were ruining the planet, they brought over the Indians, Indians from India. And so it's, it's, you've met an Asian and Indian, so they call them Fijian Indians. So

05:29 on this tour, did you play exclusively Irish music?

05:34 Oh, I think so. Yeah. They love any music. Most specific people love music. The Polynesians can't get enough of it. Especially singing

05:42 when I had been picturing until this very moment or five minutes ago was that you would be playing largely to people who had come from Ireland or their ancestors had. And you know, because around here we have a lot of festivals where people gather to hear Irish and they have Irish ancestors. But here you are in Fiji. I mean are they people that are even familiar with

06:04 probably not island people for a start. So that in a comment, the other thing, they love music and it's like a ball game. No matter what size are shaped the ballers, it's a ballgame. Doesn't matter if it's a football or a baseball or a golf ball. It's the thrill of the hunt. But with music, it doesn't matter what language are hard. It sounds like if it's folk music is folk music and people are drawn to the advantage of Irish folk music. I would say this is just my home on humble opinion is that, uh, aside from all the other folk music, which are basically call and response and rhythmically driven from below, ours is driven from above. It's a melodic, rich melodic tradition. So any accompaniment or drumming or any other kind of thing isn't necessary. It enhances it, but it doesn't come from there. So it can be just voice. Yeah. So melodically it stands out, I would say in terms of complexity and construction. Out of all the folk music to the world, that's what teams to what, what you hear about what attracts people to it. You know, it's a complex melodic, uh, construction. So

07:17 I just trying to grasp this idea that since 1995 you, how, how many, how, how much of the time are you home in Iowa?

07:27 Almost. How much? About eight months because we have a very strong, uh, tourism. It's at main industry in Ireland is tourism. And luckily for us, the Irish pub or the Irish music there in twined and ingrained in India imperative that attraction is what brings people to Ireland as well as the scenery and the people. This is what we're,

07:49 so even when you're performing at home, you're performing for foreign. There's a lot of times,

07:54 most of the time, but they're always tuned into it, you know, you know, and uh, that's where you learn about it and you shape it, you know, as well as you were informed. A lot of these people are informed about it. Of course the grating riverdance has done wonders. Oh, that was all renascence you know, and that's quite recent, but I mean the chieftains before that, but the, the river dance has opened the whole world. No matter what creed or color you are, everyone's heard the river dance, I would say at this stage, I would say. So you take it from there out and I mean, the, the explosive excitement that, that offers, that transcends, you know, and it has its roots in what we do. Do you do dancing too? No. No. I wasn't gifted with the denser Jean, I'm afraid.

08:37 Well, so how do you decide what it is you're going to play? Do you change it up on different tours or depending on the audience

08:45 all you would do? Yeah. I mean for instance, the Americans have everything get, what do you mean? What his day or everything. I mean, and I'm sure I'm sure in this town or the next time you could hear a Mongolian throat singing duets or are some kind of Georgian from Georgia, Russia, Mung Gregori and chant. Or You could hear some guys from valley or a couple of lads from Shirley just be on any one night. It's so diverse here at to begin with that has a plus and minus. The plus is that people are attuned or the customs and folk traditions. That's the plus the minuses. They probably can't differentiate which one problem another. It all sounds, you know, similar, so lots of the on untrained year. But I would say that there's a critical mass of people because folk music is a minority music, let's be honest. So there was enough people where we're sitting now, there's probably 2 million people or more in a 50 mile radius. If we got [inaudible] zero zero zero, zero zero 1% of those into a room. Like we will invoice tonight. We are happy with that.

09:53 So that's the first public library tonight. So, um, what is your ideal audience then? Do you like a small group that you feel you're engaged with or do you prefer a large crowd that has energy

10:08 coming at you? It's like anyone that's interested in listening is always a good thing and participating. Don't forget, an audience doesn't just listen. They participate and listening is participation. But when they clap and cheer and jump around, as long as they don't throw rocks bottles,

10:26 well, so many of us now listen to music. It's recorded, you know, on an iPod in something. And tell us like, why it's important to have this live music

10:38 sing. I think you're, you're, you know that yourself, that the Ricard process. And this girl here is doing a fantastic rose is her name. Yeah, she's serious. She's very nimble. While we look at those fingers and she's very nibbling, she's reading dials and numbers. That's one aspect. And even the small little boxes that we are talking into right now is tremendous advantage to likes of us. But of course it is a tool and it you can distill much you have, but the essence of where human beings, you know, what transcends through the air and true emotions and whatever, there's no replacing that are otherwise we're not human beings anymore. Sure. We're not. So you're a philosopher as well as in what is our philosophy, isn't it Dennis? Yeah. Yeah. I mean I was watching under plan coming over here, uh, you know, the, the Lady Gaga and uh, uh, Bradley Cooper one, you know, that movie.

11:33 I haven't seen it, but I think I, that one great line in it does lots of great lines, but one stood out is that you have to have something to say and you have to have somebody to say it too. But it has to be relevant to the people you were saying it too. And that's eternal. That's always been the case. Despite iPods and iPhones and whatever, and it doesn't matter if you have letters before your name letters in your name are the ones I'll get. Hopefully our Ip when I'm gone. It doesn't matter what color or creed we who you are does a transmission there you read are open to receive or you're not. So hopefully if we can broadcast that message out and then we use whatever skills or emotive content we have in our bones and people get it.

12:20 Well I liked your idea when you were talking about it as a minority sort of music. It is a minority music folk. It's a vernacular. Yeah, it is. So what, what does that say about your particular, do you focus on music that comes specifically from county Kerry? Oh No, no, no. So how, how did you learn your repertoire? Where we're, what parts of your country?

12:45 We did grow up with its surroundings. So that was as osmotically infused into her every part of our being. But then of course, you know, we were, we all our neighbors, everyone on the island and the neighboring island or our friends across the, the literacy, the Celtic Sea, as they call it, does lots of distillation stair and commonalities and the more we uncovered a collections to more commonalities there are, it's all coming from the same place. We looked the same. We all must speak to Sam.

13:15 So does it embody the history as well? Yes, of course. That's the story telling element is vital. Yeah. I know you brought with you to have your instruments and I'm hoping you can give us a little sample of some of the things you do and kind of talk about it. Absolutely. I looked up that drum and I can't even say the name, so could you tell us what it, what it is and the history of the drum that you play or the drum? The drum

13:41 is a enrollers headed here in 19 she's very astute, like these young ones. You couldn't be up to them, but she had it here that listeners wake up, pick it up. It does make you want to move to the beach. Kind of found out this thing recently. I'm an, and I'm someone who arrives at a realization most later than most people because there's a bit of sifting and levels to be ascertained. And one of them is, I figured nobody walks away from drums ever. Just a happy, you're drawn to it. It's in the distance or nearby our next door unless it's four o'clock in the morning. And the guys said, you know,

14:22 well no, I think there's been pieces written about how they used to recruit soldiers because that have this drum beat and they just follow along behind. And the next thing they knew they were enlisted.

14:33 There you go. It does. It's part of it. And actually this one, seeing you've touched on that, it was the original function was for ritual purposes is called ball B. O d h r a with a

14:47 great, yeah. Okay. I didn't know how to that. Oh, Ron.

14:52 Ron. Ron Boat with. Okay. And uh, it means the maker of deadness debt deafness or does the delta sounding and it's just a, it's just a skin. And actually in Ireland, we're the only ones in the entire European continent that play it. The nearest skies to play anything like that or the, uh, north African. Let's, but that's a whole load or story. Isn't that another story? How interesting. On a different continent, a very similar kind of draws the seaway was the highway that back then, I'm talking not before last Tuesday, well before last June, but uh, destroy many way. But the ritual aspect of it is still survives in Ireland today. Lung before Saint Patrick got bigger to him, came around or any of those fellows with beards and dreadlocks. Uh, the, we have, this tradition is still alive two times in the year and it mirrors other traditions like the Spanish and South American stuff.

15:48 Uh, on the day after Christmas, we call it a saint. Stephen's Day. You've heard of that? Yeah, our English collar boxing day. But that's another story. But we call it a Saint Stephen's day because there's a, in the fables and all the ancient stories, Saint Steven was, well, that was a crystallization of Rennes Day. The Ren. Do know what a renters, it's the smallest boards in Europe. He's tiny, smaller than a Robin, but you're Robbins are bigger than ours. We won't get into that. But the rain anyway, anyway, the, the rain was the king of the birds because they had a competition who could fly the highest to longest. And of course they were all flying in this ones, the big ones went down and the brain case and all them, they all went down. But the Eagle was, they're soaring. And he was made sure there was nobody below him, but just when he was getting tired of it was a rented, none his neck and didn't even, and he, and of course the eagle had known nothing left in the tank, but he hitched a ride.

16:47 So he was, he could stay there forever. The king of the birds in Europe, cleverness, his cleverness and his ingenuity and his size, which to do the Great Eagle. Golden Eagles would, it would have been, but, uh, anyway, all the boards anonymous saw that and they said, oh, that's the king of the boards. So whenever, uh, uh, Bren died, he got to Kingsbury. And along with that, that tradition, it was parading and it was one at a time just near, you could masquerade yourself and be whoever you wanted. And the drum was central to that. So they would be a parade with the drum. Yeah. Wearing just various costs and the deceased ren on a stick usually. Yes. Yeah. Now they don't do that. They just have the party without the rain and they collect for charity. That's what they do. So that's Saint Stephen's Day, which is written this day.

17:39 And, and the three parts of Ireland where that survives is in Kerry and cork. We call it the diabetes or the rain boys. The biddies get to that in a minute. On the East Coast, Watford Wexford, they call it the, uh, the mummers mummers and there's a connection to England, north of England there. And then in Northern Ireland across the six counties near Belfast, they call it the Reimer's cause they have a specific set of rhymes that they still use today, but it's all under the same tradition, the other big day. Then of course if you mapped the Celtic and the Christian Keller nurse, they overlap on February 1st in Ireland. That's a spring, first day of spring. So we celebrate that and it's become Saint Bridget's day, which I believe is one of the few female saints. Certainly the first one she was hanging around when Saint Patrick for Israel, not too long after he took off, she kind of took over the scene there. But uh, same bridges state. And then we, that's the same tradition. We do it again minus the rain and that one. So we call it the biddies.

18:47 The biddies the same Bridget is an old lady or a slang for Bridgette. Yeah. So just kind of pity. So they do that and uh, that tradition still exists. So it, the whole idea of masquerading and being whoever you want and going crazy within the laws of the land, of course, that, that whole thing. But the drum is central to that. And of course, after that tradition, then as a war instrument, there was bigger ones, 20 inch ones. Today. It's like 1414 half inch ones, maybe 16 but the big one a, they were used for battle with the water pipes, which are the beep noisy bagpipes. You know those ones they were actually invented in Ireland but we gave them to the Scottish. It's a joke but I haven't figured it out yet. Sorry guys. So I'd just played the sound of this one. You might like to hear it originally was played with the hand gives you a very tribal, so it's a good skin goat. He sacrifices pelt for this.

19:52 Yeah,

19:58 so it's very tribal court across. We got very fancy and we invented sticks or beaters tippers keeping's given as the gay look for a small stick and then that allows you to

20:08 do a lot of,

20:22 so it gives you that variety of sound playing one night and clarity. Clarity is very thrawn playing in a place and this old man passed the door would sticks. He had walking canes and he stopped and he came back in the door and his wife or his, the other woman or whoever she was was, was with him, came in and we got a seat for him. And he sat down and he was really enjoying the drum, you know? And so after the Gig was over, he comes up to me and he had two hearing aids and he goes, hello? He says, I said, hello. I said, I really enjoyed that drum, you know, and he was from San Francisco. I don't know if that's a San Francisco in accent, but you were pretty close for the purpose of usage here today. We'll just go with that. He goes, Oh, I love that drum.

21:11 All sounds you could get out of there with just the smaller drum. Do you know who I am? And I says, not a clue. Do you know? And then I said, do you know who I am? And he said, no, you already got your plays a drum. And then he goes, uh Oh. He says, I played the Tympani in a San Francisco Arca stuff for 44 years. He said, he said, if I knew that trauma's round, I wouldn't have laid those. God Damn. Yes. So you know, is this a true story? True story, yeah. Would I lie to you? I don't know what is true story. Yeah. He, I don't know if you know anything about Tiffany, but the kettle drums, they're massive and a foot pedals and you're continuously tuning them and they're very demanding instrument and, and he said, you know, with this thing, if you knew that was around, he would never play those.

21:54 That's a great story. Yeah, that's a great story. So do you, when you performed you, is this like just the drum or is it part of an ensemble or is it something that goes with some kind of, as you said, there were rhymes that sometimes we're used a bit of everything. [inaudible] you know, most traditional music as a solo and the ensembles came later, but you can make it work, you know, because most of the melodic content of the Irish music is a high pitched sound on fiddles or flutes or photos on the other instruments. It's fairly understand this 18 Irish, 18 instruments used in Irish music and I'll some have been at adaptations from other cultures. Yeah. And there's three unique Irish instruments and they are the harp. I know that national symbol that's very unique structure and sound and that's been there for thousands of years.

22:47 And then you have the drum here at a bow run. That's our national drum. Nadia says that are please like us. And at the third one is the uh, Elian pipe is, it's a bagpipe pumped with the elbow. And can you say the name of Galen Alien? Alien. Alien Pipe. Yeah. Okay. But I was playing in India a couple of years ago with an Irish charity and we did this concert in Calcutta and ahead head, an APS Indians, they call a classical, but I would call a focus or playing focus, but it's highly structured. And he had a lot of singers and 47 piece choir and the two of us and my seven and an Irish singer. And uh, we had a great night. It was a whole story. I won't go into it cause I don't think we have the time, but, but the guys, the Indian musicians were amazed by the Irish Strom. They never saw anything or heard anything like it. And you think that would be drum central Indians, you know? Yeah. Well I'm just fascinated with the, just the

23:46 Cla, you'd think of it as clashing cultures. When you mentioned Calcutta and Irish music, but yet here you find this common ground with other musicians.

23:55 No, we weren't playing with them. That would be impossible. Okay. And there are scales are completely different than all eastern is completed. They were just listening to it and we heard inserts. There was an Irish involvement. It's a big long story. But anyway, there was an Irish non-involved in the story and that's who we were representing. And there were retelling the story essentially this one of the vivid candy's, one of the girls. His philosophies were very complex for the ordinary people to absorb because you must remember the literacy rate in India today and back then. But to Gore, who would be the, you've heard of him Dennis stairs nodding. Thank you Dennis. That makes me feel really good. But uh, he'd be the WBA or the attacker, he or something of of India and he distilled the philosophies into poems and suddenly took off in the common mind, these complex philosophies.

24:47 And our job was to make music with, with the, with the woman, the female singer who's a phenomenal singer, Shen Center believers are name look her up and she made songs of the palms. So there's a three stage thing. Oh my God. It was a whole religious thing. Say the name of the poet again. That's what I want to look talk or t. T. A. G. O. R. E. Yeah, but it's only with that, that was the whole thing. But we were just doing an Irish representation of, of the Irish nuns start off. We were just putting her in the picture and there was a narration. We were there for hours like, and there was a whole religious ceremony before that that went on for two and a half hours and we were behind the curtain waiting for that to finish. And then we had to go to see the girl and the pope there pull up and the whole thing. It was a big lung protracted thing.

25:36 So out of all these many years of travel and incredible situations, do any others particularly stand out as exceptional? You know that the music has brought you to a placer and understanding,

25:50 well, I learned, I learned again, the hard way under slowly for me usually is that the bardic tradition, and Dennis knows plenty about this, where the Harpers, we talked about the harpers of old, they would be the oldest existing tradition in Ireland going into the early Middle Ages and farther back, 10,000 years actually. Uh, yeah, in the middle ages at under 17 hundreds of got revived. But the actual harping tradition goes back thousands or more years. But they were third in line. There was a King of the knights and the, and the birds, but the musicians and the poet. But when you get asked to pay for a wedding or a funeral for the same family, I mean, to me that's unbelievable because you are the soundtrack of that most poignant moment. And a wedding and a few hundred meters. The same thing how it is because their emotions are raw and people are at the edge, the edge of their known emotion, the right out there at the edge and it's tested like, you know, both in a funeral and waiting just to me, they're the same thing.

26:54 Is the music the same or different music of course.

26:57 But I'm just saying if you are elected by a family to do those two events, that's an incredible honor. Even to this day, they don't even know it. But to me it's it. That is the ultimate compliment. If you can be the soundtracks of someone's edge of their emulsion. I mean there's nothing better than that. I wouldn't even charge for something like that. Yeah. Because the payback is daily habit. That's it. There's nothing finer. Like that's somebody's life you're talking about and you're in it, you know? Yeah. And already it forever. Cause then we already set up the mark. And that's just two incidences that I can think of, you know, and, and a, everyone here and everyone listening will always remember those and then remembered that moment hold. They felt at the precise moment th th th that that genesis, that pivotal time when somebody says something or something happens or whatever, you meet someone and or whatever, it's assist. It's a kind of a unification but it's tossed it to power a departing. But it's a demarcation I would say.

28:07 Yeah. And I know with people with Alzheimer's, um, even in the family, when you play a familiar music, it can reach, absolutely goes beyond words can own world. Yeah. Because beyond the known, more people can't understand it, but it works somehow. Indelibly what'd you have to learn these things, you know, but if you are the provider of that experienced, I mean there is no greater, there's no greater thing. Like okay. That's, that's wonderful. Yeah. Well, so you also brought your guitar with you. Can we have a little lesson on that as well? Well, the great writer

28:46 from Ireland, his name is, uh, I can remember it now because this is my third week on the road. So memory gets a bit, uh, anyway,

28:57 you must get exhausted. I mean, you're saying different places almost every night. And Chop test treatment fivestar especially in Vorhees feeling, well, I know, you know Dennis, but you must be saying it a lot of strange places to Margaret and Dennis here or making

29:12 this all work. So the, the span, anyway, he was a great, uh, a compiler of music and recording music, Brown, Don Brannock, Brendan Walsh Street. So those not of the faith he collected and he wrote extensively about Irish music and its genesis and where it's going, where it's come from and all that. But he said to guitar was a close thing, the harp. And for me it fits in the overhead bin as a stigma. That older monstrosity. Yeah, yeah. The insides of a piano, I call it. So with, it's different tuning. They are for all the people who play, we can access, uh, the mode. It's a modal. It's this rearrangement of notes and scales that fits perfectly, that journey. And it's a kind of a restaurant and sound as distinct from the usual joining. The blues guys used it in a different pitch, the dominant note. And, and Irish music is d blues is probably g r e but it's the same application of a resonant sound, you know, so you with a small bit of it, a small little bit of imagination and participation from your selves and the audience. You can, uh, approximate a harp sound and uh, the Barack tradition, if a memory with that, it's a, it's basically a middle age is late Middle Ages and we have a lot of those recordings are not regarding what level Ricardo and paper.

32:01 There you go. Ah, that's nearly as old as Methuselah is cash. And that was just beautiful. They had the harp music is the old music and after they did Ricarda descripted it, but of course they didn't have iPad. Sir, you know, Zoom Ricard's respect in, but it's the oldest music. In fact, one of the high kings of Ireland who went to school in Killarney. Bryan burrough counter killer. Man, he played the harp. And that's to harp. We see in Trinity College the symbol of Ireland. It's a smaller one with press strings, but that guitar is as close as I can get to that are, want to get to it. Well, it just left me word lists, which me is better, but our time is just gone so fast. You have any closing thoughts, anythings that you wanted to touch on that we didn't get to or that just sort of the most important and that we've missed and Margaret there for making things happen and your south Madison roles for doing the, the front of stuff.

33:01 And, uh, what you're doing is great. Wow. Great. Along the road and keep the wheel rolling and that's you. I love wheels by this kind of activity. That's important. Yes, indeed. And I hope, dear listeners, enjoy it and come to Vori. Feels Voris Phil tonight and the library isn't it? And we're in Saratoga too in the in and Sunday night. Oh, Saratoga in the NSR Toga in Saratoga. There's some Sunday night. Yeah. And uh, where else are we again? Saratoga senior center and Charlottesville. Charlottesville, Pittsfield. If you go on the website, you'll get, tell us the website. It's a three ws, you know the, and then the dot. Don't leave out the door. The Dash. Never leave out of punctuation. That right Dennis. And then my name, t, I, m, O, s, h, e a. And then there's another h a n d says to his friends if r I, e n, d s.com.

34:10 So it's basically Tim O'shea and friends Satcom and we'll have a dancer. Wonderful young dancer here from later. He's free. He's no Lumbago or arthritis. And he can jump around. He could actually kicked the log light bulbs out if you let him, but we're not going to let him do that. And then we have a fiddler from Dublin who lives in, uh, in Malta and he's joining us as well. So my, Gosh. So you've put together a whole, and Dennis will come along and do some wonderful poem still. Yeah. Oh, that sounds great. Yeah. So there's a multimedia extravaganza. Yeah, there you go. Thank you. Thank you, Melissa. Thank you rose.