American Experience; 1964; Interview with Ron Delsener

Jesus Christ, that was annoying, wasn't it? It's amazing. What do you need a fan? Because it's hot. It's like a little nuclear reactor. That does? That gets hot. Yeah. Once you get something good. This is it. I actually like you to believe in it. Get a codec. It's so good that it needs a really loud fan. Really loud fan. Thank you. Cool. So tell me, think back, just where were you in 1964? What were you doing? Whoa. 1964, I just got off the road with a marketing company, who was sponsor with the Ford Motor Company, and they wanted to get the Ford product on campus. The Ford Mustang. Did you get it in 1964? Well, yeah, that's cool. But I was the advanced man. I also sold it on the phone. I was by this marketing company, but Mr. Gilbert had, I forget his first thing, passed away. And it was me and Hilly Crystal, who started CBGBs. Hilly was a background singer for folk songs.

Music groups, really. I think folk songs. And it's here in the desk, and we get a book of colleges. We call up the schools and say, look, we have Roger Miller, a big song at the time. Nina Simone. Herbie Mann or the Swingles sisters. The whole show cost us $5,000. And we'd say to the student board, we'll give it a show for $2,000. They'll go, wow, we'll take it over there. But the only hitch is, it's going to be the Ford caravan of music. Okay, no problem. So then I call up the dealers. I'm coming to town with Ford. Here's what we're doing. You're going to interface with the kids. You're going to give them an old car. You're going to put it on campus. And we're going to see how many students, fraternity members, fraternities would compete to stuff this Ford. And whoever got the most students in the fraternity, in that Ford old geloppy, they win it. So everything was a win. My problem was, hillie stayed back. Well, after we sold the show, I had to pick up a car in Dearborn, Michigan, and drive around a country by myself was a lonely time.

And being in Des Moines, Iowa, in the Catholic hospital, because they broke out in the hives, because they ate something bad, with nuns asking me to take my pants off. That's what I remember about Des Moines. And the lumps were killing me and I was itching the death. But at that time, it was like, give me an idea like, this is like, 64. 64. What's the music landscape like before the Beatles arrived? Folk music. It's 1964. It was Peter Paul and Larry. Pete Siger. Joan Bias. And she dragged around the kid by Bill and opening for her. Oh, there was Philoks. I love Philoks. There were all these folk groups. And it was Blues. A lot of old blues singers, for instance, Mississippi John Hurt was one of the guys. And a big boy Arthur Cuddup, who wrote the Presley songs. And lightning Hopkins and Jimmy Reed. And all these guys were around.

It was a real, studious type of music. It was intelligent. It had a meaning. It had a message. It was environmental stuff. Everything was against big government. But number one song in the charts on January 1st was Bobby Vintin singing. There, I've said it again. So there's another kind of music going on, too, right? Well, just like today, there was stuff. What was the other part, side of the coin? That was my kind of thing. I love Frank Sinatra. There's no doubt about it. He was for me the greatest. Well, Johnny Mathis was also about that type. But Johnny Mathis was great, too. There's nobody like a voice like Johnny Mathis. You can hear his singer today. I don't know. Is that Miranda Lambert or something? Is that Carrie Underwood? Is that Cher? Is that who? And you don't hear Johnny Mathis sing? Or I was stricing in those days. Jump right out at you. Right. You can go back to Al Jolson, which I wasn't born in. But you know that's Al Jolson. Well, I'm thinking about what the reason I'm asking... Me and the pop stuff? No, well, that, yeah. The pop stuff, because there's this moment

that things are going to really change in 64. You were part of it. And I'm trying to set the stage about how, in some ways, how conventional music was earlier. Well, that, the stuff that I was just talking about, Ford against the Beach Boys. I thought the Beach Boys were kind of cool on it with those things and stuff. But I didn't realize how many was extraordinary. Yeah. It was great. And it took me a while to catch up to them. Maybe three or four years. But I got it. Yeah, there was... There was Paul and Mary Ford who were hot, but that was a little earlier. Yeah. So, there was... Bobby Benton was big and Bobby Wright Dell and Fabian and all those guys from Philadelphia and Frankie Avalon and that from the cello. There was that kind of stuff. That was... I was too sophisticated for that. I like jazz. I was a Lenny Bruce guy. Yeah. I like to listen to Stan Getz. Yeah. I like comics. Mort Soar was kind of biting, although Lenny was kind of my stuff. Rickles was a little hot right then. I like to watch Steve Allen show on TV at night. Before Johnny Carson, before Jack Park, there was Steve Allen. People forget him.

But is there a sense like that America in 64 hadn't really gotten out of the 50s yet on some level? It was waiting to kind of... Yes. Yeah, and that's kind of what I'm... It was that way in Europe. I was in Europe. I was in England. I just... I'd got canned for my job. This is before the Gilbert marketing thing. And I just decided to go away in 62. The Beatles were happening over there. And I was in Hamburg. I didn't go see him. I was like an idiot. But the music was loud. It was amplified. And that was the new thing in your face. I hadn't heard that before. So I knew something was going on. And I'd always say, well, I want to go to a jazz club. I'd wind up in Denmark at a jazz club. I still was on a jazz fringe. The jazz fusion thing. Miles Davis was just coming in. But then so was Rock and Roll. That was the infancy in my area. So when you came back on that trip to America, did the America seem like it hadn't hit yet? There was something waiting to come. I'll tell you who did the disc jockey snow, because they were playing that kind of stuff. Not only Bruce Morrow, but what's his name? Cousin Brucey.

Cousin Brucey. Just a little train of thought. And Kauffman, Murray the K. He was doing a Husswery baby, you know, a Robert Davidou kind of jazz. And I remember I have a photograph of myself. He did a show with the stones. And I always wanted to show the cream. And everybody was playing the RKO 58th Street, which is not there anymore. It's a black and yellow poster, which is the only way to do it. That jumps right out. And George Lois could tell you that. You go buying a bus. You don't have time to look at a fancy poster. You want something that jumps out. And that poster jumped at me. And I had a picture of myself standing by that poster with the stones and the suit looking like cool. And I go, oh, I should be doing this kind of stuff too, instead of going around the country in a car. And at that time, I met a fellow called Dawn Friedman. I was doing jazz shows at Randall's Island. And then he went over to Forest Hills, not with his money, a fellow called Billy Grumman, had the money. And he played tennis. And he got into Forest Hills. And I joined him. The way I got to him is because his sister was playing volleyball on a beach in West Hampton. And I said, I got to get with this guy.

That's what I want. I want to step up from what I'm doing. And he took me on as a publicist, because he said, I could write well. I knew how to write and know the design. It's stuff like that. And I knew rock and roll, I knew music business. And from that, we got the Forest Hills tennis day in 1964, which opened up everything. That became the start of outdoor music. That and the Hollywood Bowl and a place called Place in Washington at an outdoor place at the time in a park. But so tell me what it's like when the Beatles arrive at JFK and what the impact of their arrival. They played a small tour and they played arenas and a few outdoor places. And the Washington concert was famous too. It was in Arena. You remember the day they arrived? They arrived or did a show first at Carnegie Hall. And then they came by. They arrived in February and played at Carnegie Hall. And then they came back and they did a major tour of outdoor amplitudes.

And I went to the press conference because I'm a press guy for the shows in New York. And I met was a Derek Taylor who was a press agent. And they had it at the Del Monaco Hotel, which is 50th Avenue at 57th Street. So I go there and I remember I introduced me Brian Epstein, I get there. And I'm standing next to this hot look and chick, called Joey Heatherton, who was a singer, dancer, actress at the time. So I'd regularly go into the press conference. I'm going and I'm like, I know what I'm doing. So from now I get to know everybody. And then they say, hey, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah. And they land. But what was the press conference like? You were there. Oh my God, it was hysteria. The girls in the street, day and night, across the street, the cops were keeping them. So the park, I mean, the traffic could go through and they'd keep the kids back from jumping. The signs were up. The police all over the place. It was just people wearing wigs, you know, but beetle wigs. I've never seen, and I've done a lot of shows

with a lot of crazies like that today. You can say that the Jonas Brothers had it. The group, one direction has it now, but there was nothing like the beetles. Girls were fainting, you know. Throwing stuff at them clothes, whatever crying, hysterical. We had nurses. We had nurses. Last time I saw that we had nurses for this group from, I think, a Scotland or Ireland that wore skirts and it came out about 20 years ago. I forget the name of the group, but I had that one. I had the palladium theater on 40 seconds. Either way, nurses in the audience taking the kids out. But it happens. Did that seem like you were aware at the time of what a crazy shift this was? I mean, because this was really something there. Sort of like when Elvis was on the Red Sullivan show. And Elvis was also on, it's a night show. The beetles did the Red Sullivan, right? Absolutely. It was kind of that craziness. And so I wasn't aware what to expect. And when they came back to Forest Hills, as being my mind forever, they landed on the grass tennis courts. There was grass tennis courts where the stadium is,

which is now a falling wreck, and they had a play there. But they landed behind the tennis courts, close to the clubhouse, and a place where the helicopter come down. And the screams hurt your ears. And we didn't have those earplugs today. I mean, I have seen it this in my ear because of the screaming. I have a ringing in my ear right now from all the noise for all the years. But we didn't have sophisticated stuff we have today. We so loud, yet I hope you. And they got off the plane. I'm running with one of the guys. And I'm backstage. We're going to go on the stage. I'm staying right next to Ringo. And Paul, and I'm taking pictures from backstage. In fact, I have a great black and white that I put into a contest at the Daily News of Ringo and just see his hair and the drums and the light. I got out of the room, but mention nothing. 30 years later, I get Ringo, and he signs it, but he signs two or eight. He can sign 64 around it. I'm not going to sell it. I just, this is the picture I took you. So after that event, I'm living with my mom and dad. You know, that lives your mom and dad down to your 40.

Because we're going to get an apartment for $75. I'm working for $75 a week. But I'm in the biz now, you know? I'm going back and I get to my house. I've just seen something. I hope it never goes away. It's the greatest thrill I've ever seen. It was the greatest. It's like when I first went to the Metropolitan Opera House on 33th Street, and saw a Rudolph Nerry have dance at the first time. With Dave Margot Fontaine, the applause was definitely at the end. And I call my mother as a payphone. You know, you're single. But the phone, I'm not listed this. A 10-minute standing, but you kept coming in front of her. I blew me away. That and the Beatles. Wow. So, um, was the Forest Hills show later in 64? It was August in 64. It was August. They did two nights. And by then, the Illmania was really doing nuts. Unbelievable. But the hip people didn't think, you know, that was for kids. You know, we were just, like, on the line. Is that cool?

It's like kitty songs. It wasn't because the lyrics were pretty heavy. And they were charming. They were smart. But it took a while for people to catch up to. First, it was a phenomenon for young girls. And they played a benefit, I remember. I think it was September right after the tour ended, or October, which I also went to as a publicist, Derek Taylor writing on backstage at the Paramount Theatre at the time. And I'm talking to, I said, yeah, Paul and Ringo. And I said, that's curtains down, and I said, I heard you guys were writing horses down the range. And they took them more places. You know, swimming in here, writing horses here, somebody's ranch here. They were being pulled by everybody. And I said, Ringo says, yeah, my ass hurt writing horses, blah, blah, blah, blah. And I whip out in my business car. And I say, we're just saying this, you know. So, I got, I got Paul McCartney on it. And I'd be embarrassed to tell him this. And I saved it ever since. I see these guys, you know. Yeah. But I never tell him stories about it. But I like to hear this stories about the boys. They were taken to Miami. And they went to try and meet Sonny Liston.

And Sonny took one look at him and said, I ain't posing with him, sissy's. And so, second best, Robert Lipsight says, they go to Cassius Clay. He's used Cassius then. They go to Cassius Clay's train cap. And that's where that famous picture is. It's a great picture. It's like hitting them in all four of them kind of. But down to the rally room like this, I forgot to say backstage at the Paramount, prior to the show, John was in a corner talking about Dylan. Bob Dylan came to kind of like, anoint them like, okay, man, I want to be with you guys. You were hot. You got the, your message is great. And he bonded that night with John. They became friends. Yeah. So, I knew that was going to be big. There's another song that gets released in 64, speaking of Dylan, the times they are changing. What was Dylan on in 64, do you think that, musically, with these forces like Dylan, who's about to really, really push through? Where's the Vietnamese war on at that time?

Not really, not yet. No, really. What's crazy is the Gulf of Tonkin thing happens in August. But it wasn't really not starting until 65. But just in terms of just like you were saying, like you could pick up echoes of it the year or two before when you were in Europe. But when you're in the US, what do you... Why? The thing was going on was that young people were behaving differently than they ever behaved. First of all, young people were more aware. They were reading. There were newspapers, the television news. Wasn't that great? They had school papers, which were well written by guys like, young winner, these type of guys were right around writing these kind of stuff. There was more intellectual eye-found. There were smaller papers. There were underground papers. The Aquarian, the voice of the voice here. And other cities had sort of like school papers which got a little more popular. So the general population read them. And I was doing benefits for... Well, Jane Fonda, she was trying to get the solar dead brothers out of prison. The guys who were put in jail out in West Coast about that situation.

I remember the case, I forget. I know what I was doing. I wouldn't have done it. But I did. And I did the concert at Hunter College and I forget who she had on the show. I'm talking 50 years ago. And these brothers kind of hold the main thing. They're like, what the hell are you doing backstay right morning? Wait a minute. I'm the promoter of your show. I'm trying to get you out of jail. I mean, I'm with Jane. Leave me alone. So those kind of things were going on. And students were into that. They were interested in stuff. And that's when Dylan came around with, you know, the guy was in jail in Newark, New Jersey. And they wanted to get him out of jail free. Hurricane Carter. Hurricane Carter. And also it was the Indians. I did something at Belafonte and... Leonard Peltier, probably. No, I tell you what it was. We got meet, gave me the call. Oh, I get a call on the hotel. My hotel in Boston. I'm doing a show up there. What it was. And it was Marlon Brando. Right. I got him on. I know the guy. Hey, Marlon, right. The Indians, we got a chief. You know, the salmon fishing. They're killing all the fish, which they are today. Everything's staying.

The rivers, the overflowing. They're taking precious metals out of TV sets or whatever, and they're polluting the rivers, and they're taking precious metals out of this. And the call... I go, I'm in. And so we did that at the top of the world of a story. I think it was called a rainbow room. And it got to be crazy. And it comes up. And the chief starts doing his pitch. And he's going on and on dressed and full of a guy. Yeah. It was hysterical. Can we touch up just a tiny bit? Just a little more powder on the nose. I need powder on the nose. That's some sweaty. Yeah, I mean... What's interesting for us looking at this year, which, you know, in fact, you were like right in the middle of this stuff. It's just interesting because, you know, the late 60s is when so much stuff really gets obviously splattered all over the place. But in 64, it's all started. Yeah. The feeling it's when it got let out of the gate, you know. Did you ever feel about when you were in the middle of it? Like when you met the Beatles, did you have a sense that some huge change was going on? I tell you what I felt is when I started concerts in Central Park in 1966.

I started with nothing. I don't know how I even pulled it off. But I was tenacious and I condensed the city that torrented me on my night skating rink for very little money. And I give them 3% of the gross. I'd make the tickets $1. And I had a friend at George Abraham who was a county executive at Doyle Dana Burnback and his client was Ron Goldbeer, a local beer. And Bernie Rellon was the president, a local guy who got to be president of that. I'm like the same type of guys that these guys grew up in the Bronx and we made it. And I'm just starting out for $35,000. You get doing this. And I started to do shows and they got so big. We had 4,000 seats. I screwed the chairs together myself. I got a guy to design the theater. We had poured up sands plus some park facilities and some toilets kind of funky in the back where the ice candy rink is now. And up on top of it was a playground.

It got so big that we sold out every show for $1. It took a big head in the paper, an axe gate, about $2,500. So I had increased the capacity. So I asked to close the playground down after six o'clock and put leeches up there. And that increased the capacity to 8,000. So I had to also do two shows. Because one wasn't enough. Of course the lines and the people were 20,000 people out in the grass and out in the rocks, out in the trees, listening to the music. And I had a very small security stiff. People didn't know what they were doing either. You know, like rent the cops. And it was scared stiff as it was I. And so... Well, yeah. I had some violent things that happen. For instance, to the show with smoking robots in the miracles and somebody else places gone. And no one gave a damn if it was sold out. They would come on over the wall like, I thought it was Vietnam. I'm telling my guy, hit the guy with the club. Get him over here. He'll be, I'm not me. I said, I'll do it. They won't break. So they start ripping down the canvas. We had canvas so people couldn't see.

But they could see if they went a little higher in the park or areas like that. So I go smokey. You gotta come out here and do something. I'm not going out there. I said, look. They're gonna spit at me, which they did. They're gonna yell at me if I say, hey, folks, that's it. Goodbye. It shows over. He wouldn't come out. I'll never forget that. So they tore the place down. The cops came. Kids weren't running down 50, have you? Never had a show. Huh? The show went on. But I don't think the second show went on. So cops come and say, look. And it was just people venting their summer. Right. That's the thing about doing a show in the summer. You know, it was a dollar and a lot of people wanted to get in and have it. They didn't want to lay outside. Like, most people would lay outside and be nice not these kids. So I had a kid spit at me and say, who you son of? He called me every kind of whitey. And then I said, hey, look a man. I mean, you want to see this act that Madison Square Garden for $10.20, which in those days was big. And rather than a buck, hey, you just killed it. So I was care for what I did. You know what the artist? All right, book. There's another group.

There's a new book that this guy just came up with. You know, Dancing in the Streets comes out in 1964. I read that book. And yeah, it was just kind of like a lack of life. No, but it was great, but people didn't respect it. Just like heavy metal people would take a knife and cut the seats out to the cushion and throw them. I'd break the chairs. We'd have piles at Madison Square Garden. And of course, $70,000, $80,000 worth of cushions and chairs. And I said to the act, I'm taking IVFE. Whew. I stopped that. The Dish Jockies went on the air and said, goodbye, heavy metal. You'll never see it again. So no heavy metal for a couple of years. So with me, I just went the other way. I'd book the Supremes or Dain Arroz. My house, a lot of jazz and stuff. I loved West Montgomery. Monk. How does Chase do you think happened? The Beatles thing? Yeah. Oh. Sid Bernstein was around. And he managed the rascals. And he had a couple of guys, or his backers. Well, excuse me. A. Markleys was in the Julie business.

And he loved Sid. And everybody loved Sid. And they gave him the money. He said, OK. And they did a show at Shay. But no one can go on the field. Which is just sitting way back and they're out second base. It was pretty bad to see. I went and I had good seats in the third row. I couldn't see it here. Damn thing. There was no big video screens in those days. You know, no HD LED. It's kind of what you couldn't hear. Who cared? Because there was just one big screen. So I left early and I got out. That's the end of the world. We're going to do stadiums now. Oh god. They got to do it better than this. Just one big screen. It still was. 45 minutes. They just did. They won album. Whatever it was. They had one album there. Maybe two albums there. One big screen. They used to put three or four acts on. Even for our sales, we had three acts on. I used to know who they were like this, but I forgot. God. And so in terms of other stuff going on in 64. Well, you know, it's a year.

We think of it kind of like as a hinge year. Year where the kind of one part of the 60s kind of gives way to the next. You know, that in many ways, everybody have to make these choices. So you got the civil rights movement going on. Correct. The three civil rights workers that got killed. An Alabama, wasn't it? Mississippi. Feminine mystique Betty Friedan's book gets published. So the feminist movement gets started. That's true. You know what? George Lois is Esquire Covers. I forgot about that. Sonny Liston is Santa Claus. Wait a minute. When did the March and Washington start? That was great. That was year four. Yeah, well, 63. I remember that too. I had a friend who was involved in that from the Apollo Theater. Peter Long. And he used to work with me and Don Friedman. And after when Don left and we got thrown out of the floor, I was still. I went on my own.

And Peter came along and did urban shows for me. He was great. His wife was a singer. Loretta Young. And she was a Loretta Long. She was singing on Sesame Street. But he got me involved in a lot of these benefits. There was one he did up for. And I went to the Rita Franklin, Franklin at an armory up in Spanish Harlem. And it was for Loretta. I think Jesse Jackson was there. And he served Kool-Aid and Bloney sandwiches. Just to say, this is what we eat. And I was giving it a good night. That was great. I mean, we did stuff that was, you know, march, hand out of flyers, do whatever we can to make people wear. Of course, the hippie generation was starting to San Francisco too. That whole thing. Love and free love, that hair business. Ken Keezy and the Mary Prangsters, they ride their bus across America in 64. Just kind of. Yeah. But it's just, they're the first LSD stuff that's just getting started. On the road? CryWorks book? Yeah. Yeah. And it was happening all across the country, too.

You go to low mass. There was people up there. For mine. The Stones have a tour in 64, too. Their first tour. That was an ultimate, wasn't it? No. It's not till 68. That was a disaster. All the people hung around those days were kind of like losers, though, too. Praying on it, being in hip and cool, because then we're doing drugs. And remember, I will tell you what to do. The ultimate thing should have never happened. Yeah. How may we'll film about that? I mean, give me shelter. It's just such an amazing thing. Yeah. I can't believe that. So. So what? So I had, I had a lot of pressure from me, too, from people from groups, you know? Yeah. The affirmative action thing and people coming down or trying to put the pressure on you, whether it was unions or something. It was really a bad time. Yeah. I just danced my way around it. You know, hey, I'm just doing what I'm doing for a bucket ticket. You know what I'm making 35. So it was tough. And no one, like corporations today, or big promoters, or guys who do stadium shows,

we didn't want to do any of that stuff, you know? So Graham didn't want to do it. When he came to New York, he only stayed two years because he stored the business changing, too. Yeah. He liked to put on three acts and give people a show. And people were getting pretty dosed out of the mind when they go to shows. I didn't want people to get screwed up at a show. And I didn't do shows that lasted all night. And then when people said, we're trying to play in three acts a night. And then we want to make money. They wanted to make money. But you had the doors coming out then. Jimi Hendrix and Janice Joplin, that whole era was really, really going. Yeah. I feel a blues band. And most of these bands were managed by Albert Grossman, a little woodstock. Yeah, sure. Dylan P. DePaul and Mary and all the folk singers and Paul Butterfield. So you had all this going on. And you had the affirmative action. And you had the Indian nation. You had people in America going, hey, what's going on here, you know? And then this Vietnam thing happened. And a stupid war to ever have. And we went down that path, the wrong path. Vietnam was to start it.

I think Korea might have been with MacArthur saying, let's go and to Korea. When you look back at the shift between somebody like Peter Paul and Mary and the Beatles arriving. Or even Martha Reeves and the Vendell and the Dance of the Streets. It just becomes a civil rights anthem. Yeah. What's going on, Marvin Gaye? Same thing. What's underneath all that, dude? What's making music? Shit. I think most of these people, kids in Europe and America, came from poor families. Most of them. They weren't the Simon sisters. Colleen Sush, Simon Assusta. They came from poor families. Maybe the alcoholics broken homes. And that's their world. And that's what they see. I mean, Van Morrison was that way. And England, poor Irish families, father died. Mother didn't like them.

Roger Waters popped died in the World War II. Never knew him. Live with the mother. Over bang mom. They went into the room and they took it out on music. They wrote the lyrics. A lot of them were bright. They wrote great lyrics. That meaning. See, we don't have, I don't think we have that anymore. I mean, there's no length of Collins around anymore. We just have over and over repetition, the same boring three or four beats. And people get high. And it just throws off. And they think it's great. Look electronic music today. To compare that with what we had back then. You see it's coming down to the world. It's not just America. But I think it started here. Television. Those kids are part of a generation that is beginning to kind of really step out in some way. Like, you know, we think now growing your hair a lot. Like the Beatles. That was a statement back then. Today, what is it? Lip rings, tongue rings, tattoos around your neck on your face if you can do it. Anything to say, look at me. I'm a person to look at me.

It's a rebellion. Whatever it is, a statement. But they're doing it wrong. You want to knock people out with your intelligence. The way you speak. You're reading a knowledge. That's what you have. The people don't realize that. They think the bling and getting the cash. What about doing something with your fame? What about doing something with your money? How about closing down the ACC? It's running by the Department of Health in New York City. Where they kill 7,000 dogs and animals every year. They come in. They kill them. How about taking care of them and saying no kill? There's little things we can do. How about not killing whales or dolphins to eat? Don't we have enough to eat? Let's tell the Japanese that. What are we doing about these things that can make a difference in the world? That's all gone. Back when we were young and growing up in that era. That meant a lot. The witch is on TV. The monster is the Adam's family. It's like these crazy shows are coming out. That same year, which we're all about. When you think about, they're all about, like, new people moving in next door.

That was it. All in the family. That was the big one. Sammy Davis walks in. I remember that guy. I remember that. Yeah. That was great. Well, laughing was also political piece, too. Laughing. Totally. Totally. The Supreme's hit number one in August. I think I was thinking that. No, it's actually the cooling system. That bubbling. Yeah. Yeah, it's our hardware. Okay. I'm going to kill it for a little bit. It just started. If you can turn off for a little bit. Yeah, it's funny.