 I really got it, and we're just gonna make it all shine, but well, true is the name, don't you hear? Now believe to be from heaven's sense, I'm the son of the field, the whole little gentleman's son, I don't know where to go, tell me where to go, well, not so much, but, um, gotta have a song at the ready. So just in case we get invited to the right, we're gonna play in DC, but we're not gonna, I don't think we're gonna play the way I sound, but we're gonna play in DC next week. And we have a song, just in case we get invited, which we're gonna sing to you right now. Shut up and drool, was that it? Shut up and drool, shut up and drool, or just shut up basically. Well, one day, I can't help it, because I gotta, I gotta be, you know, here, I'm here, we're all here, right? So we gotta talk about what's happening, oh, we don't have to, but, the other, a couple years ago, and Beth has heard this song, because we used to play minigigs we had in the lobby of the signature theater, which is Beth Whitaker's theater. Hey, good to see you here today, and usually Carol knows, we do watch-me-work, it was very space, so this could be called, you know, watch-me-play. Um, but a couple years ago, I mean, three years ago now, I was walking by a newsstand, and you know how you walk by a newsstand, and you don't really want to look at the news, because, you know, you know that feeling. So you walk by the newsstand, you kinda like, like that, I do that every day, and so several years ago, I was walking by the newsstand, looking at the news, not wanting to look on the cover of the New York Times above the fold, which is important, I guess, right in the middle, you know, where all the important news is, it was a photograph of a black man running away from the camera, and he had his hands up, he was running away, and there was a cop in a policeman's uniform, and he had his gun out, and he was pointing at this black man who was running away, his hand up, and I said to myself, no, no, no, that can't be happening, I must be saying it wrong, you know. So I went home, and I looked online, and sure enough, it was a man, a brother, a black man named Walter Scott, who at a routine, I think it was a routine traffic stop, got on a cop, decided to shoot at him, and he was running, and somebody had taken that photograph, and it was on the front page of the New York Times, and I cried for a long time. Yeah, he's running from the cops, and they're shooting, yeah, they're shooting at the brother, his hands raised as he's running from the cops, shooting bullets at the brother's kids, and the tears reading down wanting justice and getting shit. His hands lifted up to the sky, wanting justice and getting shit. Love songs might sound political, I don't know. It's the desire of a political act, probably, at this time, right? To say like, I want you to depend to you love. I think it depends that you love. We could get into this conversation, which we'll say it later. Okay. Okay. And this is how we do the song. Revolution! This is kind of like a retrospective. The signature was kind enough to give us a space there, every week, for like a whole year almost, a whole year and a half maybe. And I thought I'd write a song for Jim Halton, who's a founding artistic retro signature, who passed away a couple years ago. And so we're going to, we're going to close out with this one, that I wrote for Jim. It's called Actual Miracle.