I absolutely music chose me. My dad was a studio musician and a phenomenal player. He's a trumpet player. And I never realized that everyone didn't grow up in a musical environment. He'd never occurred to me until I was in my 20s. So from the time I was conceived, I heard music all the time. My dad was always practicing. My mom was a piano player. There's always music in my home. And so I was always surrounded by it. And again, it never occurred to me that everyone else didn't share that experience. In the very, very beginning, I was self-taught. So I did a lot of listening. And there were a few clubs I could get into being young in high school. I used to go, there was a place where I used to play. Because it was a coffee house. I could get in when I was 16, 17 years old. And I loved going to hear live music. And I went to hear the LA Phil a lot. So my background is fairly deep in terms of different kinds of music. And I grew up listening to different kinds of music in my home. So both my parents listened to classical music and obviously jazz and Latin stuff. And so I used to go with my dad to recording sessions. So a lot of the drummers people never even heard of were in their own way very influential in what I heard, what I saw. And I got to see a side of music that most people don't see. I mean, all the studio guys were just amazing. I mean, they were their craftspeople. The demand is you play anything that's put in front of you. And so having watched that kind of stuff, I would have to say that was my most early mentoring. And at the time I didn't play drums. I studied classical piano and I studied trumpet with my dad. But it was always fascinated by the drummers on the sessions. So I was just magnetically drawn to that. That's kind of how things came to be. I would have to say you have a combination of two things. You have fantastic studio players that really can play anything. The other side of the glass is if you don't have a really good engineer that really understands music and the guys that are my favorite engineers, who are all musicians, okay, from the musical background, know what instruments sound like. The buck stops there. You can be the best player. You can have the best orchestra. And if you don't have an engineer in the booth that can capture that, it's useless. It's a waste. So it's really two things. It's got to be a great performance and it has to really be a good recording. And I'm lucky to have worked with some fantastic engineers who have great ears. They walk around, they see how things sound in real life. And then that's translated to hearing it in the booth. And I mean ideally, it should sound just like what it sounded like out on the floor. I have a tremendous respect for engineers because my drums can sound great, okay. But if they don't record that way and the engineer isn't savvy, I'm up the creek with no paddle. Oh no, I think music is constantly in a state of evolution and in a state of change and in a state of historically significant things that came before. Okay, so in a sense, everything that I've ever listened to and everything that anyone else in play is in this way, that's a little bit of a listen to, is a tremendous influence on what they produce. Oh God, I don't think I could pick one coolest thing. I think beginning at a tremendously early age when I used to go with my dad to sessions, just being in the room and near a brass section with all this stuff going on, just made a hair on the back of my neck stand up. It's so exciting to be just surrounded by live music. And from then on, I've had so many experiences that are just peak experiences, I think. I mean, there's so many we could be here for days. But I think I worked with Barbara Streisand live when Klaus Ogramman was conducting and it was a huge orchestra. And because the drums were center stage, Barbara was right in front of me. And she sang, every night she just sang one tune with just Klaus Ogram and playing piano. And I mean, honest to God, the hair on my arms, the back of my neck, just I never heard anything that magical. I mean, this is one of those magic moments where you can hear a pin drop and she just nailed it night after night. And every night be the same thing. I just like lose my breath, just breathtaking. And I think there, I mean, I've had a lot of experiences like that where everything, you know, for lack of a better term, I mean, there's a magic that happens. And you can't make it happen. It's just when you become one with what's going on, everybody's listening. It just happens. It's really a, I mean, for lack of a better work, it's a chemistry thing or a magic thing. I mean, I think if you talk to other musicians, that moment, that feeling is going to come up. And it's not anything that anyone plans on or makes happens. When everyone is functioning and listening, and the unit becomes a whole, and I mean, those are just fantastic moments. And I'm very fortunate because they happen all the time, you know, and you never know when it's going to happen.