Music has changed so much since you first got into music. And yet you're still here singing, writing and recording and outlasting so many that came after you. How do you feel young artists should approach commercial music making if they want to experience just a teensy bit of success and longevity that you have enjoyed? Well, the reason that's kind of a tough question for me, I was lucky. You know, when I first started speaking with you, I told you I had three rings when I was with the company, record companies I was with. That's right. None of them told me what to do or how to do it or when to do it. Today, unfortunately for the young artists that comes up now, they got producers who tell them what to say, how to say it. But I listen to a lot of this stuff today. I hear so many of these kids, they sound so much the same. I mean, when you had Identity when I was coming up, it's Ella Fitzgerald over a mile from St. John's. Yes. You knew that was Ella Fitzgerald. That's right. You knew that was Nat Cole. You knew that that was Frank Sinatra. You knew that was Bobby Stratton. See, but today, well, for me, and I know I hear good. Yes, yes. But I'm telling you, because record companies, they want you to come up with and sound like whoever had the last hit. Yes. That's what they want, you know. And I can't blame the artist because the artist wants to record. And so they got these producers and they want to do what the producer says, as opposed to saying, hey, I'm creating my stuff. I'm going to do it the way I feel it. And you worry about the sound. But you see, you can't do that nowadays. It just doesn't work that way, man.