Drea

[00:00:00] Speaker A: Coming to you from Rockingham IPL Radio. You're listening to my generation on IPL Radio. And we've got Drea in the studio. [00:00:12] Speaker B: Hi, everybody. [00:00:14] Speaker A: Yeah. And refresh from Australian Idol. Am I. Am I allowed to mention Australian Idol? I know you've crossed out a lot of questions about Australian Idol. [00:00:24] Speaker B: Fresh from a TV show. [00:00:26] Speaker A: Oh, fresh from a TV show. Oh, that's good. So now there's a lot of questions crossed out here, and I see the first question is perhaps a no, no as well. Is it? [00:00:39] Speaker B: No, that's okay. [00:00:40] Speaker A: That's okay. [00:00:41] Speaker B: Yeah, I think so. [00:00:42] Speaker A: There's no question about that. Making the top eight is a great achievement. How did the whole Idle experience impact Dreya the person and Dreyer the. The artist? [00:00:56] Speaker B: The experience was really good. I think it challenged me as an individual and really pushed me in places that I haven't been pushed for a while creatively and just who I am as a woman and then as an artist as well. And then as an artist, it gave me. It took away a lot of the control that I usually have over my artistry, which was good, though. So it really challenged me in that sense to submit to authority and just get used to that again. Not that I'll ever need to do it, but it's always good to have those little challenges in life. [00:01:29] Speaker A: It is indeed. Some of them are good and some of them are pretty scary. [00:01:33] Speaker B: Yeah, they can be. [00:01:34] Speaker A: So is it a scary thing or. [00:01:37] Speaker B: I think it was scary in the sense of that it was being broadcast on tv. Like, I'm very used to performing in front of small audiences or small, smaller crowds. [00:01:48] Speaker A: Yes. [00:01:48] Speaker B: So I think knowing in the back of my head that a lot of. A lot more people are going to see this and that it's going to be online for people to see afterwards was a bit scary, but it was worth it. [00:01:57] Speaker A: Yeah. Well, from a personal point of view, when I watched the audition, there was probably a huge gap between you and the rest of them, but because your confidence just came through and I thought, well, perhaps that's because of the. What you've done previously in front of crowds. [00:02:22] Speaker B: And, yeah, I mean, I'm very blessed to have had all of those experiences earlier on in my music career, which does set me apart in specific situations. And I did, like, I went in there quite nervous, but it was good. [00:02:38] Speaker A: It didn't show. [00:02:39] Speaker B: Oh, thank you. [00:02:41] Speaker A: Now, one question that you haven't crossed out here that I can ask you is on the night that you left the show, you made a statement. Thank you. You wanted to thank Jesus Christ, your personal Lord and Savior. Was there any reaction to that statement? [00:03:01] Speaker B: From what I can remember, I think Ms. Marsha on, like, obviously she wasn't on mic, but she was exclaiming with me, which was. Was cool. She was happy. But nobody else made a comment about it after. Except for people messaging me, being like, we're so proud of you for saying that. Which I thought was really cool. But, yeah, I can only do any of the things that I can do through him. So if I wasn't gonna say it, then I'd, you know, when was I gonna say it? [00:03:31] Speaker A: So is gospel music a big part of your life? [00:03:35] Speaker B: Yeah, so I grew up listening to a lot of gospel music, and I still do now, and I take a lot of my singing inspiration from that. Obviously singing in church and just even simple things like techniques and different things. It's a. Yeah, mainly gospel music. [00:03:53] Speaker A: Through the course of the program, we did learn a lot about the background of some of the people. Didn't hear a lot about your background. Any reason for that or. I don't know, just the way it panned out. [00:04:06] Speaker B: Yeah, it's just the way it goes. [00:04:09] Speaker A: So you come from a very musical family. So when you were growing up, what was the sort of music that you were exposed to in your. Your household? [00:04:19] Speaker B: So earlier childhood would definitely be gospel music and then 70s, 80s, 90s, like, R B, disco kind of vibes. That was what we listened to at home because that's what mum and dad listened to. And then I started to explore music when I got into high school and I would listen just to pop because that was what was available on the radio. And then I really started to go into neo soul and R B more. And then as I've gotten older, I've gotten into a bit more jazz. So it's a lot of things that have influenced my singing and my music. But definitely gospel was the main foundation going up. [00:04:59] Speaker A: Yeah. When you say gospel, is that sort of popular gospel or sort of church gospel? [00:05:05] Speaker B: At church gospel. So not CCM that we listen to today. And also thinking like Hillsong, but even more towards. I would say African American and African gospel. That's where I. That was my foundation, which has a lot of roots in jazz, in soul music. Music. And yeah, it's a combination of all those things. But, yeah, I did listen to, like a lot of old school Hillsong and Planet Shakers and stuff like that. [00:05:33] Speaker A: Yeah. The Great Southland of the Holy Spirit was written by Jeff Bullock, who was in charge of music at Hillsong. At the time. [00:05:40] Speaker B: I know that song. [00:05:40] Speaker A: Oh, yeah, There you go. You must be a little bit older than I took you for. [00:05:45] Speaker B: I am. Since I'm really young. I'm not going to say my age on the radio, but you can definitely find it everywhere. [00:05:52] Speaker A: Yeah. Because a lot of gospel music stemmed from African American in. In the days of the slave. [00:06:01] Speaker B: Yes. Slave trade. [00:06:03] Speaker A: That is true. Yeah. And a lot of great songs came out of that era. I won't try and trust my memory here because as you get older, I can tell you that the memory is not as reliable. [00:06:20] Speaker B: Just, you know, going up and down with me sometimes. [00:06:23] Speaker A: Yeah. So in terms of music teachers, any influence there? [00:06:27] Speaker B: My teachers. My high school teacher, Mrs. Lowe, who still talks to me now, was a very, very big influence. She championed me and put me up for a lot of, like, solos in choir and really just believed in me more than I believed in myself. And so she was very integral part in my music career. And then my uni singing teacher, Matt Allen as well. [00:06:52] Speaker A: Yep. That's your primary school teacher, Mr. Davey. Yeah, I had to get him in because he's the son of a friend of mine. [00:07:00] Speaker B: Oh, very nice. Hi, Mr. Davey, if you're listening to this. [00:07:04] Speaker A: Yeah. So before you went into Idol and even now, I don't know, you have to do something for a living. You're obviously not singing for a living yet. [00:07:16] Speaker B: Not yet. I am doing full time music at the moment, so I teach singing at two schools and privately. And then I also do gigs and write songs for people as well and myself. And then before that I was working as a paralegal for three years. So I have a law degree, a criminology degree and a business degree. [00:07:36] Speaker A: Wow. Yeah, wow. Not just a musician, not just a pretty face. [00:07:42] Speaker B: No, not at all. Worked very hard to get to this point. [00:07:46] Speaker A: So you've worked as a paralegal? [00:07:49] Speaker B: Yes, I did for three years. [00:07:50] Speaker A: And is that something that if your music career sort of stalled, would you sort of go back to be. [00:07:57] Speaker B: Going back to law in some form? I'm not sure what type, but I'd definitely go back to being a lawyer. [00:08:04] Speaker A: Interestingly, I was talking to Liz McCord and she was saying that you would perhaps think about doing law in a music. [00:08:20] Speaker B: Yeah, entertainment law is definitely something. [00:08:22] Speaker A: Yeah, yeah. [00:08:23] Speaker B: And it'd be very interesting. [00:08:25] Speaker A: Yeah, very interesting because there's been a lot of challenges on copyright and plagiarism [00:08:35] Speaker B: as of now because people are using more samples without asking for permission and that will get you in a lot of trouble. So make sure if you're going to sample anything, make sure you have permission. [00:08:45] Speaker A: Yeah, I. I've got a. Sort of. A bit of a pit thing about plagiarism. There's. There's a gospel song written in 1955 and the song, the Note for Note was a very popular song in 1970. The writer of the song in 1955 got no recognition for it whatsoever. And it's the sort of thing that gets undermined. There you go. But back to Dreyer. These days there seems to be an emphasis on performance. Now, is performance more important than vocal ability? I guess I'm thinking in terms of Taylor Swift. She does an amazing performance, but in my opinion anyway, there's a lot of people that have got a much better voice. So where does it sit? [00:09:54] Speaker B: It really depends. I think performance encapsulates a lot of different things. It is the way that you look at, it's the way that you sound, it's the way that you interact with the crowd. And it's not just everything that you see on stage. I think performance also encapsulates things that happen off stage. So using the example that you've given someone like, Taylor Swift is a very well rounded performer. She's very business minded and she may not have the most amazing and insane vocals, but she uses what she knows to her strengths. And she has so many people who absolutely adore her and absolutely adore her music. I think she's a great person to show like she's a great performer. Yeah, she's great. I think she's fantastic at what she does. And there's always something that you can take from all these people that have a wide and massive platform. They all have their strengths and weaknesses. I mean, you could list so many different artists who aren't the most incredible singers, but I feel like you don't even need that anymore. If you are, you know your limitations and you're good at that and you work that to your strengths, then that's the most that you can do. [00:10:59] Speaker A: But thinking about it, I wouldn't go out and buy a Taylor Swift record. [00:11:04] Speaker B: Oh, that's okay. Like, that's the thing. I feel like people like, if you don't want to buy that person's art, that's okay. But we can still appreciate. [00:11:17] Speaker A: You might appreciate the performance. [00:11:20] Speaker B: Oh, yes, absolutely. I think. I mean, I'm not the biggest Taylor Swift fan, but I can appreciate that what she does is phenomenal and it is at a very, very high standard. [00:11:29] Speaker A: Do you look at artists and think that's something I could use in. [00:11:36] Speaker B: Oh, yeah. Every time I go to a live concert, which I have been going to a lot more now, I look at aspects of their performance that I really enjoy and I'm like, why do I enjoy that? And why would I need something like that in my own live performances? And it's usually based on. For me, it's the sound, it's the vocals I'm huge on making sure my voice sounds good, but then also just the visual aspect. We're very visual beings and we look at things first before we hear them. [00:12:02] Speaker A: Yes. [00:12:04] Speaker B: So, yeah, just simple things like that is really important. [00:12:09] Speaker A: After your experience on this television show that you were on, has it sort of put a fire in your belly to become a professional artist? [00:12:22] Speaker B: Honestly, I would have to say yes and no. I've been sitting singing for AD like publicly and writing my own stuff for nearly eight years now. And a lot of people don't know that. So I've been doing it for a very long time. This is any. Not anything new besides going in front of like millions of people on tv. So I've already. I started my music career. This isn't the start of a career. It's the middle of it, if I'm honest. So for me right now it's just kind of picking my battles and seeing where I want to go, if I want to go really big, or do I want to just keep coasting where I am, or do I want to just stuff altogether. So it's really just a transition period for me now. [00:13:01] Speaker A: Right. And so you're not going to give up your day job? [00:13:05] Speaker B: No, I'm going to continue teaching. I love it. And that's the best part of music for me. I like inspiring the next generation and all my kids are lovely. [00:13:13] Speaker A: Now, I know that you've got a drummer, guitarist and a pianist in your family. Do you play an instrument yourself? [00:13:22] Speaker B: I do. I play the piano. I played the violin and Viola for 10 years in the school and I play the guitar as well. [00:13:28] Speaker C: My goodness. [00:13:30] Speaker A: Some people get all the talents. [00:13:33] Speaker B: There's only music. I can't do anything else. That's. I mean, well, that's a lie. [00:13:37] Speaker C: Only music. [00:13:38] Speaker B: I can do music well. I can study well, but I can't anything else creative. I kind of hands off. So it's just not my gifting. [00:13:47] Speaker A: Well, crikey. I think that's enough, isn't it? [00:13:50] Speaker B: I'm very happy with it. [00:13:52] Speaker A: Yeah. So when it was to from here, [00:13:57] Speaker B: I am taking a break for the next few weeks and then in May And June I'm starting up with my gigs again and releasing some music. So if you are interested in any of that, you can follow me on social media. Drea D R E A O Don't forget the O music on Instagram, Facebook and TikTok and I will be there. [00:14:17] Speaker C: Right. [00:14:17] Speaker A: And is there anywhere where people can sort of like Spotify or itunes where they can buy your. Your material? [00:14:26] Speaker B: Yes. So I released an EP last year and you can get that online. If you go to any of my links, you'll find a link to all the online stores as well as itunes as well. [00:14:39] Speaker A: That's on itunes. Okay, well I'll get. I'll do download one and I'll play it this week. [00:14:45] Speaker B: Thank you. [00:14:47] Speaker A: So artists from the say like Sarah Bourne and Diana Washington, all those. Are you familiar with their work at all? [00:14:55] Speaker B: A few of them. Their songs sound familiar. I'm a bit horrible with names, but a few of the songs do sound familiar. I wouldn't know them like instantly, but if I hear the chorus I'm like, oh yeah, I do recognize that. [00:15:09] Speaker A: Yeah. It's amazing how many of the African American artists in particular who started life in church choirs. [00:15:18] Speaker B: Yeah. [00:15:18] Speaker A: And yeah, it's. But they've got a different quality to their voice. [00:15:24] Speaker B: Absolutely. It's phenomenal to hear them. They are strong singers. [00:15:29] Speaker A: Yeah. [00:15:30] Speaker C: Very good. [00:15:31] Speaker A: Well, since you've crossed out half my questions, we're going to wind up the show there. And just if you'd like to repeat your Drea. [00:15:45] Speaker B: So my social media handle is Dreya D R E A O Music on Instagram, Facebook and TikTok. [00:15:54] Speaker A: Okay, we'll be looking for you there. Thanks very much for coming. And Drea, it's been a pleasure talking to you. [00:15:59] Speaker B: Thank you for having me. [00:16:01] Speaker C: There you go. This is Bob Seger and all time rock and roll role and we've still got Dre in the. Really appreciate that. And we were talking about plagiarism there and how much is required to actually contradict copyright or. [00:16:22] Speaker B: Yeah, I'm not sure. I feel like it'd be a specific percentage and then after that if you are under the threshold then you're okay. But yeah, it just depends. [00:16:32] Speaker C: Yeah. Well, of course the Australian group. Australian. Was it made at work? [00:16:39] Speaker B: Yes. For Down Under. [00:16:41] Speaker C: Yeah. And I must admit I was a bit ticked off there because they. They used Kookaburra and the Old Gum Tree. [00:16:51] Speaker B: Yeah. Which is also an Australian song. So. Yeah, think. [00:16:55] Speaker C: And it was the people who owned the copyrighted only purchased the copyright. [00:17:01] Speaker B: It wasn't oh, they didn't even. [00:17:02] Speaker C: Yeah. And they sort of caused quite a bit of problems. [00:17:07] Speaker B: Yeah, I remember that being quite a big thing. But I was saying before, a lot of newer artists are using a lot of old hit songs. So I guess if. I mean, if the artists are huge and they have enough money to pay and do all the legal stuff, then that totally makes sense. But. But yes, for people who are wanting to sample other things, just be careful. [00:17:27] Speaker C: Yeah, yeah. Actually, I played a song last week, I'll have to remember. Oh, it was Gene Pitney and Neil Sadaka had recorded it and. And he, he sang and played piano. He had his backing group, he had the. His band and backup singers. And the recording company didn't like it. And so Gene Pitney took the. The whole deal, just cut out Neil Sadaka's voice, put his own voice in, so with the backing and the. And everything, and became a hit record. [00:18:18] Speaker B: Oh, there you go. [00:18:21] Speaker C: So as long as you acknowledge the [00:18:25] Speaker B: original writer, I, I wouldn't take. What I'm saying is gospel, but I think if you acknowledge the original writer and you pay them some monetary compensation and then you have some sort of written contract, then it's usually okay. But with this day and age, everything is so expensive. So you'd rather do it the right way than get caught doing it the wrong way and have to pay double or triple. [00:18:49] Speaker C: Now we pay royalties on all the songs we play here. Now, does the singer and the writer get royalties forever or is there a cutoff? [00:19:04] Speaker B: It depends on what the contract is. I think it would be very different for the songs that you're playing now because they're from an older generation, from what I'm used to. But if you're. If you have a written contract, you usually have a stipulation of how long the payment will be, what the percentage is, and who, like, how much each person has contributed. So how much the royalties will be split. But yeah, I don't know, it just depends. [00:19:32] Speaker C: So the songs that you've written that you've got on itunes and various other social media, have you had to do anything to actually get them copyrighted or. [00:19:47] Speaker B: Yes, I register them with the Australian and New Zealand, like, writing body, and so I can get royalties from them. Whenever I perform my songs or my songs are played anywhere, then it, like, registers with them and then they pay me a lump sum. [00:20:04] Speaker C: So if I played a song from one of your songs from itunes? [00:20:10] Speaker B: Yes. [00:20:11] Speaker C: How much would you get? [00:20:12] Speaker B: Not a lot. [00:20:13] Speaker C: It would be just a matter of sense. [00:20:15] Speaker B: Yeah. You don't Get a lot from streaming these days, which does upset a lot of people, which is why a lot of musicians and live artists ask you guys to come out to performances, because that's where we get most of our money and it's not. Oh, and buying merch as well. And simple things like following, liking, shipping, sharing, and promoting all the content that we put up online because that gains traction, even though it's less about that, it's more about the art. Coming out to shows does so much more than just streaming a few hundred thousand million times online. [00:20:46] Speaker C: So would artists receive more royalties from their CDs than they do from streaming? [00:20:55] Speaker B: Yes. If you do make CDs, even though it's very expensive to make CDs in records and stuff, you would probably make a lot more. So I. From what I've seen back in the day, they'd make a lot more money off CDs and records and the physical copies of their songs or their albums or whatever, rather than now. Everything is so accessible online. And you know, you can put your songs up on online, on Spotify, whatever else is Apple Music and Title and all of that, but you can also just get the music for free on YouTube anyway. You don't really need to pay for it. So it's, it's. It's a weird, it's a weird concept to really get your head around because it's like you have to pay for a streaming service, but you could just get it for free anyway. [00:21:40] Speaker C: Yeah. YouTube's not really a reliable source though, is it? [00:21:47] Speaker B: For music? Yeah. [00:21:48] Speaker C: Well, if you've got a music video, [00:21:50] Speaker B: if you, even if you have normal music, like just music tracks without a video, you can set it up so that when you do release songs online on Spotify, Apple Music and all those other streaming services, it automatically goes to your YouTube channel. [00:22:06] Speaker C: Right. And because I've got a feeling that you can actually, you can use it on the media that you've downloaded it onto, but you couldn't then sort of copy it at infinitum and play it on different. [00:22:26] Speaker B: As in if it's on YouTube or on. I think you can. I'm not sure how it works. I'm not an avid YouTube user. I like other streaming services because they're a lot more accessible to me. But I think it's possible. A lot of people do use YouTube music now. [00:22:43] Speaker C: I know with itunes. A couple of times I've in court, I've actually bought a song off itunes, loaded onto my computer, copied it onto A. The MP3 file onto A. A USB stick. Put it in here and it won't play. It'll play on my computer, but it won't play. And yeah, apparently there was a period where itunes were making it unavailable to [00:23:15] Speaker B: subsequent out to multiple. [00:23:18] Speaker C: And I guess that's fair enough because you've purchased it. [00:23:22] Speaker B: Yeah. [00:23:23] Speaker C: And then you could sort of give it away to everybody. Hundred people, which. [00:23:27] Speaker B: Which totally makes sense and I appreciate the fact that they thought about that. But it is very hard to monitor that individually now because there are so many different streaming services. But I mean, either way, the best thing is to do is listen to the music and if you like the music and those artists come to your towns, make sure you go to their live shows. [00:23:46] Speaker C: Yep, yep. Very good. Well, we're going to listen to a Frankie Lane and Joe Stafford now and the Way down yonder in New Orleans Dryer. And before Andy Williams, we were talking about royalties and the value of streaming and as opposed to CDs. And you were saying that you're the most profitable thing from. From a singer's point of view to. Is to actually have gigs. [00:24:19] Speaker B: Yes. And 10 gigs. [00:24:22] Speaker C: What sort of places would you play around town? [00:24:25] Speaker B: So next month on the 31st of May, I'll be playing at the Ellington Jazz Club. The late set, though. So from. Well, doors open at 10:30 and I'll start at 11 until about 1 in the morning. If you are a night owl, we will be there and it'll be a really fun show. It is called Jiraiya. Do you hear what I hear? And I'll be there with the patch squad. If you are a late night owl and you like music and you like live stuff and fun and laughter, it'll be a bit of a comedy show as well. Okay. You're welcome to come down to that. And then I might have a few fundraisers coming up, but do check out my socials and I'll tell you where. Otherwise, I play at the Bird in the City. I play at the Record by in the City as well. I play at Mojos in Fremantle and literally anywhere. I think it just depends where people need me to sing and I'll be there. [00:25:23] Speaker C: So when you're singing at the jazz club. [00:25:26] Speaker B: Yes. [00:25:28] Speaker C: You're not singing Chess or. [00:25:30] Speaker B: Sometimes I do. This time I might. You'll have to come to the show to find out. It's gonna be very, very interesting. But most of the time, because it's a late set, I'd like to do energetic and upbeat stuff for my weekend music lovers. [00:25:44] Speaker C: And so would you be Mainly playing your own compositions or it'll be a mixture of both. Me, sure. [00:25:50] Speaker B: So my stuff and a few covers, but. But remixed covers. [00:25:54] Speaker C: Okay, so you. Arrange them. [00:26:00] Speaker B: Yeah, I get it. Yeah. The boys and I put our own spin on it, just to keep it fresh. [00:26:05] Speaker C: Oh, that's good. [00:26:06] Speaker B: Yeah. [00:26:07] Speaker C: And is that. Is the jazz club sort of a regular gig or. [00:26:13] Speaker B: I used to perform at the jazz club heaps when I first started, so that was in. In 2017, so not as much now because I do my own original music. I usually just open for people around Perth and that just depends wherever they book their gigs. But I don't know, I might start singing back at the Ellington a bit more, depending on where my journey takes me. [00:26:38] Speaker C: But, yeah, now we don't get a lot of overseas artists come to Perth. [00:26:45] Speaker B: Unfortunately, they don't. Unfortunately. [00:26:47] Speaker C: So how does one go about getting. Doing an opening for a sort of an international. [00:26:55] Speaker B: Through a booking agent. I have the loveliest booking agent. [00:26:58] Speaker C: Oh, you have a booking agent. Oh, that's good. [00:27:00] Speaker B: Cut above Collective and Josh. I'm not sure if you'll hear this, but Josh has been absolutely incredible over the last year and a bit he has put my name forward for some really cool shows. So I've opened for 660 Drax Pro project and last year, June, I opened for Billy Ocean, which was amazing. Yeah. In Sydney. So that was cool. But, yeah, it's usually just word of mouth and if someone sees you, like he did saw me randomly playing at someone else's show and then he asked me if I had my own original content and I was like, yeah, I do. He's like, sure. I'd like to put your name forward [00:27:34] Speaker C: now, getting back to your TV appearance. [00:27:37] Speaker B: Yes. [00:27:40] Speaker C: Have you been approached by record companies at all? [00:27:43] Speaker B: No, it's not the same as it was 20 years ago. You don't really need a record label or a record company to release music. But no, not just yet. I think there's still a few other things in the works for other people and then if it comes to me, it comes to me. And if it doesn't, I'm still going to keep doing what I'm doing. [00:28:01] Speaker C: Okay, so do you think, well, in your opinion, do you think CDs will eventually disappear? [00:28:08] Speaker B: Oh, if they haven't already. I have students who have no idea what CDs are. I have them all in my studio at home and I had a child ask me, miss, what are these? I've never seen them before. I was like, oh, it's a cd. You get music on it. And they answered, don't you get music on YouTube? So I think CDs are already just about done for the younger generation, which is very scary to think about. [00:28:34] Speaker C: So where does that leave radio record companies? [00:28:39] Speaker B: Record companies are good, but they. It's very different. It's very, very different now. I think anyone can produce their own music. So it really. I think it depends on the magnitude of how far you want your reach to be to go to a record company. This is also. I'm talking from a perspective. Perspective of I've done everything myself over the last few years. Like I've written my songs, I've only worked with producers and then I do everything else myself. Like I contact the person who's got a mix, contact the person who's gonna master and then I do all my own advertisement and I upload all my stuff myself. And literally it's a one man show. Besides the production and mixing and mastering. [00:29:20] Speaker C: Yeah, a one man show is pretty good. But I guess as you get more famous. [00:29:30] Speaker B: Yeah. [00:29:30] Speaker C: And more popular, that would become more difficult. [00:29:34] Speaker B: Yeah, for sure. I think as you get a wider reach, it's definitely important to have a team and I'm very blessed to have a great team around me. I have a lot of my band members who are really skilled in the production area and arrangements. So I can give them my ideas and they can create something for me and I just give them a tick of approval. And then having a booking agent who knows exactly what I want to do is amazing also. And then finding producers that I like and understand the type of music I'd like to release is really helpful as well. So as you do get a wider reach, you do need to be able to collaborate with people and that's what the arts, any type of art. But music especially is very much about. [00:30:15] Speaker C: Very good. Okay, we'll move along with some music. This is back in 1960. This used the instrumental of this particular song. Used to be. Well, I think it still is one of my favourite instrumentals. This is a vocal version of Floyd Kramer's Last Date and it's by the Anita Q Singers.