For me, it's not about tradition at all. It's about rules and regulations. I like history. I like certain traditions. I like certain rituals. But as soon as they're encased in rules and regulations, they become inclusive. I mean, you look at like Jesus saying, okay, all you have to do basically is love one another. And everything will build on that. But then you have everyone coming after him that says, okay, you have to love one another. And here's these four to other rules and then these rules and these rules. And you have to then be this aspect. You can't be Protestant or you can't be Catholic or you can't be just non-denomination as long as you pray and love. You have to be in this religion. You have to wear these clothes. You have to do. There's all the rules and regulations that comes with anything, with going to school, with everything we do. Even movements, great movements, important movements that make change, they get like eventually like clubs. And then all they care about is their special interest. And I think it's the rules. These rules and regulations that constantly we're fighting and trying to shed. And if that makes us seem less moral and my less moral because I refuse to have an organized religion, I don't feel that at all because I feel completely unfettered. My relationship with God is unfettered by a bunch of rules and regulations about how to get to Him. And I think that the real key is just to be a good person. You're just a good person. I don't care what side of the, everybody can keep their values, keep their traditions. But as Lenny said, live in harmony. I don't think that all art should talk to everybody. The Maple Thoreb didn't feel like his ex-rated photographs or his sadomasticistic photographs were for everyone. They weren't for his mother. They weren't for young people or children. They were for specific people. A lot of people, they look at Jackson Pollock, it makes them ill, but they will love a vermir. I don't think that everything has to be for everybody. Some people might never like Alan Ginsburg's poems. It's okay, though, like maybe Wordsworth. We have a whole spectrum and all of the possibilities to enter the creative sphere and define where we relate to this expansive consciousness. It could be through Whistler or it could be through Wagner. It's just, I think that it doesn't have to just be through something new or something. I don't like all new art. In fact, I can't stand most contemporary art. You can take all of Jeff Coons and throw them into the, I don't even know, you can bury them into the, some crater or something. Put them in the Hawaiian crater. It's called the schlock of the news. I'm just saying that it's just for those, like Jesus said, those who will hear will hear and those who will see will say, I would have been very happy that we were never in the mainstream. Even when we had one successful song, it was on such a controversial album that we managed always to stay in the illuminated underground. I would have loved if we could have written a song on horses that I used to call it, my dream of writing the hit of the world, writing a song that everybody heard and was like felt uplifted by it. Everybody. It was like the perfect four top song, you know, Reach Out for Me or something, to write one like that. But I don't have that gift. It's a gift that the, you know, Smoky Robinson had or various people have, but I don't have that particular gift. And I don't say that, like, being humble is just a truth. I mean, if I had it, I would have written the hit of the world. I don't think it's important to stay in the underground to be an artist. I would love to see the greatest artist that ever lived suddenly beloved by the whole world, you know. So, you know, you just, we just keep doing our work, you know, it's like, we never cared whether we were, even though I had that secret dream, we didn't do our work to, you know, make money or to be pop stars or dress in a certain way. We got in trouble at least once a week. Everything that we were asked to do, we usually did the opposite. Not to be contrary, just because that's the way we were going. We were like, no, I'm not going to brush my hair for the cover of Horses. I'm not going to like, no, I'm not going to wear dress on the cover of this album. No, I'm not going to, you know, take the word pissing out of pissing in the river. It was always, I know I'm not going to call it, you know, rock and roll potato instead of rock and roll nigger. I'm going to, you know, no, I'm not going to shave my armpits. I mean, it was like stupidest fights every single, everything we did was a fight, right? But we were like, we were happy to fight. I mean, Jesus Christ, you know, to be a, as a young person, I knew if you're going to be a poet or an artist or anything like this, a true bedor, you were going to suffer, you were probably going to be poor, you were going to maybe have TB. I mean, anything was going to happen. But you were going to, you know, be blessed with the opportunity to create in this manner and unfettered by, you know, the world's expectations and demands. You were just going to do your work. And that's what we did. And I would have to say that that is a legacy that we got from the counterculture of the 1960s, the sense of idealism, the sense of possibility that you could choose your own path. And if it was Rocky, well, that's, you know, that's Rolly. I mean.