[00:00:00] Hey, everybody, welcome back to the DrumMantra podcast, episode 50! I can not even believe that we are at episode 50. Wow. That's kind of a milestone. And if you've done 50 of anything, that's kind of a big deal. So thank you all for listening. Thank you for your support. The podcast has been running for just shy of two years now. And if you've been with me the entire time, then you've experienced these little periods where you might not hear from me for six weeks or even three months between certain podcasts.

 

[00:00:46] I'm really trying to be completely consistent with this. I'm really moving my schedule around so I can dedicate myself to continuing the podcast. And I think for the last six weeks or so, we've had one come out every week. So that is an accomplishment. Personal accomplishment for me, because I tell you when you're starting a business and you've got to start figuring everything out. And in this day and age, with all the different social media outlets and video channels and podcasts and blogs and websites and e-mails and all the things that kind of go into creating a place where you can share your passion, there's a lot of work involved in just getting the word out. So as you see, there is a DrumMantra YouTube channel. There's a DrumMantra podcast, there's a DrumMantra web site. There are many DrumMantra social media places from Instagram, Facebook, Twitter, Tic Tok, Reddit. So there are places all over the Internet that you can find DrumMantra stuff.

 

[00:01:59] And. You know, all of that takes work. All that takes time and it takes shuffling your normal schedule around. I am extremely, extremely fortunate and extremely grateful to have a schedule that allows me a lot of time to practice and to create content for everybody to create lessons for the members of DrumMantra.com and to create courses like the DrumMantra3030 and to create videos for everyone on YouTube and to create all these things. I'm super lucky and so grateful that my life has kind of shifted into allowing me to have that time because I basically just played gigs. And the gigs I play are very nice and support myself and my family well. So I'm able to dedicate a lot of time to practicing and doing all these other things.

 

[00:03:07] And the thing is. Let me tell you if you're a self-employed, independent musician. You know that when you're not playing when you're not working, it's really easy to like justify just relaxing. And I spent a lot of time in my life, you know, feeling like, all right. I played five gigs this week, so I'm just going to totally chill. Between gig times and my days are going to be going to the pool or go into the beach or, you know, just hanging out or sleeping late or going to movies or whatever. And I did that for a really long time. And maybe it's just because it's time for me to make make a difference in the way that I live. Or maybe because I fell upon the ideas of polymeters in 2007 and just lit a fire under me to really dive in and understand how polymeters work and to create exercises and lesson packs and write books about it to share with the world something that I have become very excited and very passionate about.

 

[00:04:22] So whatever it is that has moved this into order, I am extremely grateful and I just love this journey. And I'm telling you, it's not an easy thing for any of us to train ourselves to be disciplined enough to really advance something that we're in love with. Like I meet so many drummers who love drums, but they don't practice. And part of that is they don't know what to practice. Or maybe they love drums and they say they practice all the time, but they don't get any better. Why? Because they're not practicing. They're not practicing the right stuff. And that is really. It's really unfortunate and it's sad that so many people don't know what to practice. If you did not go to college for music, which a majority of people don't study music in college, I mean. In my circle and my world, everyone that I'm around has studied music in college and definitely has a bachelor's degree. Most of them have master's degrees in music. And that's a unique situation. But for a lot of people, a lot of drummers, you just fall in love with drums because you love Led Zeppelin, you fall in love with John Bonham and you played in some bands and now you want to be a drummer, but you don't know how to get any better or you're brand new, you're a middle school kid or you're in high school and you're trying to figure it all out. Or you're a seasoned professional who plays all the time and who practices all the time but you want to go to that next level and you just are getting frustrated because the things you're working on aren't seeming to make you feel like you have your own voice and you're really trying to dig deep to find that new level to your own playing.

 

[00:06:25] So getting the time and attention and knowing what to work on when you have that time, that's a lot of stuff to fall into place and then doing it and then not being swayed by anything to stay on the course of practice and dedication. Because if you really love it, it's gonna be so frustrating if you don't know how to get better. What to work on. So that's also become such an important thing to me in my own life that I wake up and I come to the studio and my goal is to practice 30 minutes, four times a day. A 30-minute chunk of really focused, repetitive practice builds muscle memory. It builds concentration. It builds strength, it builds patience. But it's not so long that you just start trying to figure out what am I going to practice next? So you pick one thing and 30 minutes... It actually doesn't fly by if you're really working hard on something... There are times where I set my timer, I literally set my timer and I make myself go 30 minutes because sometimes I'm working on a very complex coordination exercise and I'm exhausted, and I look at my clock and it's been 17 minutes. It's like, oh, my gosh. So if you're really practicing things that are requiring a lot of brainpower, a lot of focus, a lot of concentration, a lot of coordination.

 

[00:08:06] You're really in it, in a way thirty minutes is a very, very long time. In another way, because you know that you're doing something that's good for you and something that's that is going to enrich every aspect of your musicianship and really every aspect of your humanity when you get really good at something that makes you happy and makes you a happier person when you conquer something that you couldn't do and now you can, it empowers you. And hopefully, when you're empowered, you want others to have that experience as well. So you're cooler to people you. It kind of makes you love other humans more because you want them to discover that thing in themselves that they love and doesn't have to be drums. Maybe they love to paint or dance or whatever, but when you start to feel a sense of mastery within yourself. You just can't help but want to see that and other people and you want other people to have mastery, too, because you've experienced what it's like to work hard and get a reward. The reward of mastery of a concept. There's nothing better than to achieve something that you've set out to do. And there it is.

 

[00:09:24] That brings me to the DrumMantra3030 course, which is the sponsor of the DrumMantra podcast. The DrumMantra3030 course is the flagship course for DrumMantra. It's a 30 day, 30 lessons, 30 minutes a day course that takes you through three different time signatures 4/4, 3/4 and 5/4, tons of coordination and exercises, tons of concentration exercises. And by the time you're done with that 30-day course, you are a different drummer. I've had people from over 40 countries around the world take the course and everyone loves it. It's pretty amazing. It's pretty incredible. So many positive comments, things like this is the best online course I've ever taken. This is an amazing course. I can't believe the value in and everything that you get from this course. It's really humbling to me to have people all over the world that I don't know, I know now because I've worked with them for 30 days. When you're in the course, you can comment on any lesson, I come in, I reply to you if you have questions. We work through things together. You get to download a PDF every single day, and at the end, you have a 200-page book, you can spiral bound it and you went through you accomplished 200 pages of material. There's a video for every lesson, there's inspirational words for me for each day. So if you are ready to take your playing to the next level and really want something that's going to work on the small details of your playing, I highly recommend checking out the DrumMantra3030 course DrumMantra.Com/DrumMantra-3030.

 

[00:11:20] OK, before we get into this, the 50th episode of the DrumMantra podcast, I want to read a review for you. This is from "Nate Coon For President". He left a five-star rating. He says, "this is exactly what I needed. I've known Rich for a while and he's always been this crazy wizard of a genius who I'd only get to see once a year. But now I can learn all his secrets of meditative practice on the go. His website book and especially this podcast are exactly what I need right now. I can pause, rewind and listen to this stuff over and over until I get it perfect. Now to get to practicing." Thank you, Nate! Nate is actually a good old friend of mine from the Texas days. And actually, you should look Nate up, Nate, on Instagram. Let's see what it says. See what his handle is, Nate Coon is one of the top session drummers in Texas. He is doing records all the time. And he's a great player. He's a fellow A&F drum artist and he is someone to check out. You would really dig him. His Instagram is just @natecoon. So go check him out.

 

[00:12:45] All right, so for this 50th episode celebration, I wanted to do something special, so I actually sat down and created an entirely new lesson pack for everybody. And this lesson pack, I kind of I wanted to figure out a way to satisfy the younger or less experienced player at the same time that I'm satisfying the advanced professional. That's not an easy task. But the reason that I think it is doable still is because there are so many aspects of a DrumMantra practice. There is the drumming, yes, there's the coordination, yes, there is the muscle memory from lots of repetitions. That works for everybody. That starts to get into the world for everybody. Coordination. There are people who can play very complex coordination patterns and there are people who can't play any coordination pattern. So that one that's hard to satisfy both. But once we get into concepts like repetition builds muscle memory. Now we're starting to talk to everybody and here's where we're really talking to everybody. The ability to concentrate. The ability to stay focused. The ability to stay present. Those qualities are things that we're all working on.

 

[00:14:13] So if you're a beginner or an amateur player or someone who is just getting started, I highly recommend actually listening to each of these exercises and doing them with me like really, really try to get this. If you are an advanced drummer, a professional, someone who's highly skilled. I still encourage you to try these exercises. They are...

 

[00:14:41] Here, here's the deal, and I've told this story before. When I first wrote the foundational series book and it hadn't gone to print yet, but I'm flipping through the pages, sitting on the couch at home and flipping through the pages and staring at every exercise and my wife walks in, she says, what are you doing? And I say, I'm going over these exercises to make sure that they all feel right and make sense. And she says, "no, you're flipping through a book. You're not doing anything that has to do with actually playing these exercises." I'm like, oh, my gosh. And for a second, I was ready to kind of almost state my case of, well, yes, I understand how these exercises work so I can basically practice in my mind. And I believe that for a long time. And to an extent that is true.

 

[00:15:24] When you think of complex exercises or when you think of anything and you imagine yourself playing it, that is a great mental practice. But there is a component that involves the physicality of the instrument that has to actually happen when you are physically playing the instrument. So my wife says, "go to the studio and play the exercises." Yeah, you're right. Wow. OK. So I go to the studio and I play the exercises. And what as I'm flipping through the book, sitting on the couch. I'm nervous. Oh, my gosh. These exercises are not going to challenge anybody. I don't know if I want to put this book out and then I go over and I play the exercises and I'm like, oh yes, these exercises are really great. Even though they may not be challenging at some point, technically they're challenging because of your concentration. Concentration is vital, vital to successful musicianship. The ability to pay attention to what is going on in the moment on the bandstand with the other musicians allows you to interact in the truest, purest level of playing. That is what music is all about.

 

[00:16:40] Music is not life and death. Rock climbing is life and death. If you're hanging on the side of a wall with your fingertips and you're a thousand feet above the ground and you start daydreaming about something, you are in big trouble, my friend. In music, you can play and daydream and you know, whatever. If you're good at playing a rock beat, no one's gonna know the difference. "Whateve.r" That is, that's a weak way of thinking about things, though. Doesn't matter what kind of music, what style of music, how easy the music may be for you to stay focused and stay in concentration mode and give every single note your full intention will not only make your performance stellar; not only will allow you to connect with the other musicians in a way that transcends the technical aspects of the music, but there's something to be said about staying present and being completely committed to something and being completely focused and playing with full intention that changes the way everyone in the room feels. It's an invisible energy that affects everybody. So just think about that when you're doing these exercises. You're working on these exercises for a lot of different reasons, some of the reasons you may think you know and some of the reasons you haven't realized yet. So give a little time, play these exercises. I think you're really going to enjoy it. Here we go. Let's play these things. I'll be back to talk to you at the end. Enjoy.

 

[00:18:20] Today, I have an exercise series that I want to present to you. That is a primer for two-way coordination. Now, for you advanced drummers before you walk away and think that there's going to be too easy for you, I encourage and urge you to go ahead and try these exercises because you may discover some things about your playing Andrew coordination that you thought you had down, but you didn't. So what we're going to do is a simple two-way coordination exercise that goes through a series of about 10 different permutations. Now, the point of this exercise is multifaceted. One thing we're going to be doing is working obviously on our coordination. We're going to be working on our feel. You can always work on your feel when you're practicing something, your relaxation, your comfort with the exercise, your comfort with your posture, with your body. And then the big thing for me, with all the DrumMantra material is an extended amount of repetitions. The important part about repetition is that's what builds muscle memory. So we are repeating something long enough that our body starts to learn that motion and that coordination on its own. That way, when it's time to make a musical expression, our body knows what our mind is thinking. So if we want to express ourselves in a certain way, we don't have to analyze so much and try to hope that we're gonna get it right. Our body just automatically knows how to express that idea. So we're trying to merge the body and the mind with these coordination exercises. And that comes from a lot of repetition, Drum-Mantra, rhythmic repetition. That's what DrumMantra means.

 

[00:20:07] So the repetition part of this is going to challenge everyone. It challenges me and I've worked on this stuff a ton because the amount of time that we're going to play each of these exercises is going to seem almost extreme. It's not gonna be that bad, though it's eight measures of each of these exercises in a row. But when you're playing something really simple and it's taking a long time to get through it, your mind wanders, and when your mind wanders and mistakes start to happen.

 

[00:20:39] So if you're an advanced drummer, what you are working on is training your mind to focus. So if you're a new drummer, you're probably thinking about the coordination. If you're an advanced drummer, you're training your mind to stay centered and stay focused. OK, so this is across training that works for every single level of player. All right. So let's get into this Two-Way Coordination, A Primer. OK. So this lesson series is five parts long. And I'm going to present parts 1 and 2 to you today. The first section will be just dealing with one note, the quarter note. It's a one beat long sequence. Just the quarter note. So what's going to happen is the left hand is going to play chord notes on a snare drum. The right hand is going to play quarter notes on a ride, cymbal unison. Quarter Notes. 83bpm. Eight measures is what we're going to do this. Eight measures of unison quarter notes at 83 beats per minute. It might sound like that is so simple you're not even going to try it. Trust me. Try it. It's only eight measures, but see how well you do with eight measures of unison quarter notes. Are you relaxed? Is your body comfortable? Are you consistent? Are you hitting the drums the same velocity each time? Are you able to concentrate or are you checked out and thinking about what you're going to have for lunch?

 

[00:22:14] There's a lot of things that you can be doing while you're playing these core notes. Only 32 notes. Let's give it a try.

 

[00:22:22] Okay, great. Let's move on to the second exercise now. Left hand continues to play quarter notes, but the right hand is going to play the next permutation of sixteenth notes over. So the right hand is going to play the e's while the left hand plays the core notes.

 

[00:22:41] 1e, 2e, 3e, 4e. Okay, here we go again. Eight measures. 1e,2e,3e,4e.

 

[00:22:49] Concentrate. Relax. Pay attention to as much that's going on as possible. Stay focused. I'll see you in a minute.

 

[00:22:56] OK. Great. We're going to move the 16th note over again. So now left hand still plays core notes. Right hand is playing the ands. 1 and 2 and 3 and 4 and. Keep your concentration. Keep your relaxation. Keep your focus. Here we go.

 

[00:23:13] Great. For the next one. You've guessed it. We're going to move the left hand. One more sixteenth note over to the uh's. So now left-hand quarter notes. Right hand is uh's. 1 uh, 2 uh, 3 uh, 4. Eight measures. Here we go.

 

[00:23:29] Excellent. Now the right hand is going to play all the eighth notes while the left-hand plays chord notes, one and two and three and four and eight measures again. Let's do it.

 

[00:23:40] Okay, great. Now let's move all those eighth notes over one sixteenth note. So now the right hand is playing E Uh. 1 e uh, 2 e uh, 3 e uh, 4 e uh. Eight repetitions. Pay attention. Make sure that you end when that exercise ends. It's easy to go into autopilot and forget how many measures you've played. So you're playing eight measures. Exactly. You're allowed to end on the downbeat, but nothing more. So if you play beyond what the example is doing, that means that you lost concentrations so that's something you really want to pay attention to and focus on. Concentration is vital when performing music, and the easier something is when we're playing the more likely our mind is going to wander. So we really want to train ourselves to be laser focused, being in the moment with the music. That's how to make real music when you're really there at every moment paying attention to everything that's going on. So we're training ourselves to focus. Here we go. Eight measures.

 

[00:24:45] OK. This next one is going to seem super simple because there's hardly any notes being played. But the trick with hardly any notes means there's a lot of space. So the right hand is going to play beats two and four, the left-hand quarter notes. 1,2,3,4. It's going to feel maybe backward to some of you because a rock beat would be the opposite too. And you of the left hand and maybe chord notes of the right hand. But we're doing the opposite left-hand corner notes, right hand two and four eight measures. Here we go.

 

[00:25:19] OK. Excellent. Now, if you thought that had a lot of space. This next one's going to really have a lot of space because now the left hand only plays on beat 3. 1, 2, 3, 4. Eight measures again. Here we go.

 

[00:25:34] OK. Now's when we're gonna have a little bit of fun with this. We're going to bump up the intensity level quite a bit. We're gonna go into instead of a measure of 4/4 with just quarter notes, we're going to now go to a measure of 3/4. It's shorter, but it's going to be more challenging because the right hand is going to play dotted eighth notes. So what's happening is the left is playing quarter notes, the right hand is playing dotted eight notes.  So we're playing the 3 to 4 (3 16th note groupings or dotted eighth note) to 4 (4 sixteenth notes or quarter note) the 3 to 4 polymetric relationship. We're gonna play eight measures, but now one, three, four. So it's gonna move quicker. Here we go.

 

[00:26:29] Okay. And finally, the last exercise in this section, we're going to now lengthen the measure to 5/4. The left hand is still playing one-quarter note each time, the right hand is now going to play every fifth sixteenth note. And so if we play every fifth 16th, though, a quarter note is four sixteenth notes. So every five sixteenth notes means that the hit is going to happen one-sixteenth note further away from the quarter note each time. Eight measures. Here we go.

 

[00:27:21] OK, great. Now here's the deal. You can choose any two limbs that you'd like, and I suggest trying every single combination you can think of. Hands, feet. Reverse hands, reverse feet. Right side. Right hand. Right foot. Reverse. Left hand. Left foot. Reverse right hand. Left foot. Reverse left hand. Right foot. Reverse. So that's what. One, two. Three. Four. Five. Six. Seven. Eight. Nine. Ten. Eleven, twelve. That's twelve different versions of this exercise to cross-train every single part of a two limb combination.

 

[00:28:03] OK, now here we go with what I call the meditation. Now, if you're part of DrumMantra, you know that every set of exercises has a final performance or "meditation." That means we're going to play all the exercises in a row in a certain pattern. These exercises can last anywhere from eight to 14 to 30 minutes without stopping depending on how long and how intricate the exercise is. So, the pattern for DrumMantra exercise performance or meditation is eight repetitions of each exercise, and then you go back and do four repetitions of each exercise and then two repetitions of each exercise and then one time each and then one time each one more time. So eight measures of each. Four measures of each. Two measures of each. One measure of each. One measure of each. Okay. Let's go ahead and try the entire performance or meditation of Two-Way Coordination: A Primer, part 1. Here we go.

 

[00:29:10] Okay. Here we go with section 2 of Two-Way Coordination: A Primer. This is going to, we're just going to add one 8th note and it's going to totally change the game. Now we're getting to stuff that an advanced player may be challenged with beyond just being able to concentrate. So we're going to jump into this. This is now a two-beat long phrase of the left hand. So the first section was just quarter notes, one beat long phrase with the left hand.

 

[00:29:42] Now, two-beat long phrase will be a quarter note and two, eight notes. 1 2+. That's the ostinato that the left-hand plays. The right hand is going to do the exact thing that it just did in Section 1. The permutations of downbeats, e's, and's, uhs, all the eighth notes, e's & uh's, two and four, beat three, then we do the dotted thing, and then we do the five-note grouping thing over dat dat dat dat dat dat dat dat dat dat dat dat dat. We're going to look at this as it's in 4/4, but it's only a two beat left-hand ostinato. Okay. So number 1, 1, 2 and 3 4 and chord notes on the right cymbal. BOP, bop, bop, bop, bop bop. Eight measures. Here we go.

 

[00:30:33] Okay, great. Now here we get a little bit more complex. This is kind of an awkward thing if you've never done it before. 1, 2+, 3, 4+, e ,e ,e ,e. It's going to create a neat little pattern. Dive into it. Eight measures. Really concentrate. Make sure everything is consistent and comfortable. And that you're focused. You're breathing. And I'll see you in a second. Here we go.

 

[00:31:02] Okay, great. The next exercise, we're gonna go to and's on the ride cymbal one and two and three and four. And here we go.

 

[00:31:11] Okay. This next one's probably one of the more tricky ones. The rides cymbal goes to the uh. 1, uh, 2, uh, 3, uh, 4, uh. Eight measures. Repetition. Here we go.

 

[00:31:23] All right. The next exercise. All eight notes. 1, 2+,3, 4+. All right. Let's do it.

 

[00:31:32] This is a fun one, because now we're playing e's and uh's with the right hand, the same pattern with the left hand. All right, here we go.

 

[00:31:46] Okay. Now we're going to move into one that's kind of simple. If the exercise is simple, technically, that gives you the opportunity to focus on all the other aspects. Relaxation, consistency, breathing, focus, intention, clarity, sound. How well are the drums sounding? How consistent are they? So a lot of things you can start to think about when you're not thinking about the coordination. So the right hand is playing beats two and four. One, two and three, four and. Eight measures. Here we go.

 

[00:32:20] OK, the next one we're going to move the right hand to just beat 3. 1, 2 and 3, 4. This can be trickier than you think. There's a lot of space, there's a lot of opportunities to forget that your right hand is supposed to play on beat 3. So let's see how it goes for you. Here we go.

 

[00:32:39] OK. Now we're going to increase the complexity level quite a bit because now we're doing a two-beat, phase 1 2+ underneath a three-beat phrase, the dotted eighth note -  1 and 2 and 3. And now a three-beat phrase does not resolve at the same amount of time that a two-beat phrase resolves. So we're going to have to play that three beat phrase twice, two measures of 3/4 that way we can play that two-beat pattern three times underneath it. Now the counting is a little awkward. So instead of counting what we've been doing is going one, two and three, four and one, two and three, four and, which four is duple. That pattern is duple (2) so it resolves within itself very cleanly.  When we count it in 3/4 it adds a new level of complexity. 1, 2 and 3, 1 and 2, 3 and 1, 2 and 3, 1 and 2, 3 and 1. Right. So this is going to be a two-measure phrase of 3/4. and we're going to repeat it eight times, so it's going to last a little bit longer than the other eight. Repetition patterns because we're playing two measures of three. All right. Good luck. Here we go.

 

[00:33:57] OK. If that was challenging for you, you are not alone. It is not easy. Hopefully, you rewound it, worked on it a bunch. If this was something that you tried and it fell apart and you got frustrated, take your time with it. It is very worth mastering this exercise, not because you're going to all of a sudden be in a band and go (sings rhythm). It's because when you connect those dots that you're your neuro network is changing and you are now understanding rhythmic relationships on a deeper level, you're understanding the complexity of a dotted eighth note over a two-note rhythm, a quarter note, and two eighth notes.

 

[00:34:42] There's a lot going on there. Don't give up. Don't make an excuse. Definitely don't you know, pay attention if you ever say this, "when am I ever going to use that on a gig?" If you say "when am I ever going to use it on a gig", there is a great indicator that it's something maybe you should spend some time working on. Now, if it's a really weird, crazy thing that doesn't really make any sense, you've got to use things that are practical. This exercise is practical. It does a lot of different things that are going to train your mind and your body to understand a different level of complexity.

 

[00:35:19] So I highly recommend working through this if you can't do it yet. OK, for those of that of you that could do it, we're going to add another level of complexity with a final exercise in the section, which is 5/4. We're gonna play every fifth 16th note with the right hand while we play the two-note grouping with the left hand. Now, in five, we count it like this (counts rhythm). And so we have to do two bars because five doesn't work with two, we have to do two bars of five. Two goes into ten, so we have to count two bars, 5, 1 2 and 3, 4 and 5, 1 and 2, 3 and 4, 5 and 1. Then we're back to the beginning. (counts) It's a two-measure long phrase. We're still gonna play it eight times though. This is a long phrase. Get comfortable with it. It's long enough to start becoming distracted and losing your place. This is a challenging one. Good luck. Here we go.

 

[00:36:28] OK, excellent. Now that you've done each piece individually, we're gonna do section 2 meditation. 8 repetitions of each all the way down. Even those two-measure phrases are both eight repetitions, and then four and then two, and then once each, and then once each one more time. Now once in the three or four and the five four that means two measures of once. OK, good luck. Here we go.

 

[00:36:58] OK, great. I hope you enjoyed the first two sections of Two-way Coordination: A Primer. There are three more sections in the member's area of DrumMantra.com. If you want to go deeper on this stuff, it's all sitting over there for you. If you would like to get the MP3 and the PDF off of the first two sections completely for free you can go to DrumMantra.com/50. You can get the PDF to both of these sections and the MP3 play-along of the meditation. So come on over. Get those things you can practice as much as you want on these. And remember, it's not just this. It's 12 different variations that you can go for. So just a few mastered one give yourself an opportunity to do a different limb combination. Remember, there are 12 different two-limb combinations. OK. Enjoy. I look forward to seeing you again. Take care.

 

[00:38:01] OK. There you go. I hope you enjoyed those exercises. If you want the PDF and the play-along audio, you can go to DrumMantra.com/50 and that will give you an opportunity to download the PDF and the play-along for Section 1 and Section 2 of two way coordination of primer. Thank you so much for listening. Thank you so much for your attention. Please spread the word about this podcast. It really helps. And I would love if you left a rating. If you want to leave a review, I will read it. And that really helps me. It's all the stuff is grassroots. So the more, if you like what you're hearing and you want to spread this, that's what makes it possible for me to continue to do this. Thank you. Thank you. Thank you, everybody. Wow. Episode 50! I can't even believe it. It's crazy to me. And I'm more pumped up to continue than ever before. Have a great week. Talk to you soon.