Sharon Vaughn, My Heroes Have Aways Been Cowboys, Waylon Jennings, Willie Nelson, Mel Tillis, Agnes, Garth Brooks and Taylor Swift all weave into this conversation
Adventures Of A Black Belt Sommelier
A conversation with Sharon Vaughn, one of the world's most gifted songwriters
(singer singing in foreign language) ♪ I burned up my child for days ♪ ♪ I burned all the wounds ♪ ♪ Of a modern day drifted ♪ ♪ Don't you hold on to nothing too long ♪ ♪ Take what you need ♪ ♪ From the latest in need now ♪ ♪ For the words of a sad country saw ♪ ♪ My hero's was to always to then cowboy ♪ ♪ And it's still ♪ - Welcome to Adventures of a Black Thought, so I'm Olye Sharon. I'm really thrilled to talk to you today. - Well, it's always wonderful to see you, boys. - Thank you, you're very kind. So I was hoping you would tell the story about how that song came to exist. The Mel Till, it's Ponderosa Steakhouse, Wayland Jennings story. - It has been a great country music hall of fame. - Yeah, well, it has been a hell of a ride, I have to say. And not on horseback, always. It's just been crazy. I would briefly touch on what you said. I was discovered in Orlando, was going to college at night, working a 40-hour full-time job at a radio station and singing on Friday nights at a jazz club downtown with a hairpiece and a long formal gown. And on Saturday night, I was singing country music with a duo at the Ponderosa Steakhouse Lounge. So they all kind of melded together in some fortuitous thing, because part of my job at the radio station, was to liaise with the artists that the radio station brought in for performances. And Mel Till is in his entourage, and lots of other, at that point, they call them the shower of stars, and they had like four or five or six, maybe huge artists on the same bill. And so anyway, as part of my job, I was backstage to try and make everybody comfortable. Well, I just marched up Biggest Brass to Mel Tillis. And I said, "Listen, I'm singing tonight "at the Ponderosa Steakhouse Lounge. "Why don't y'all come on by?" And much to my shock and delight, I'm up there singing something I don't remember, probably a Connie Smith song. And in walks, Mel Tillis and his whole gang, and they stayed until about three o'clock next morning. And he called me on Monday, the following Monday, and asked me to come to Nashville. He said, "I think you're the best harmony singer "I've ever heard in my life, "and I want you to come to Nashville "and do this record with me." As I do it, and I went. So I wound up in Nashville. And-- - We should interject for any young people who watch this that Mel Tillis was a very, very big star at that time. I mean, a young person may not have ever heard of Mel Tillis but a part of his daughter, Pam. But anybody under 40 has probably never heard of Mel Tillis, but at this point in time, he was about as big a star as there was in country music. - Yeah, arguably he was the biggest star at that time. He and I guess it was Furlong Husky and those guys. But anyway, Mel, he was as high as you could shoot. So anyway, I went to Nashville, green as a gourd, and wound up not signing with him, not signing the record deal that he had waiting for me, not signing the record deal that Chuck Glaser, who was with the Glaser brothers, who were another huge act. He asked me to come to Nashville. He did the same thing. He came over to my house and sat in my breakfast booth at my mother and father's house and sang songs to him. He said, Sharon, did you know you're a writer because I didn't have any accompaniment or anything, I don't play an instrument. So he asked me to come and anyway, everything kind of got jumbled up and I don't for the life of me remember why I refused to sign either deal, but I did. And I wound up doing background vocals and several years passed and I signed a record deal, a single record deal for myself with ABC Dot. And they asked me if I had any songs that I had written. And I typically bluffed and said, yes, I do. And so I had a producer and I went to my producer's office between sessions. I was still doing sessions every day, background vocals and jingles and stuff. So anyway, my producer said, listen, I'm about to produce Bobby Bear and I need a cowboy song. So I went home and I wrote heroes. And oddly enough, wait, I remember this very well 'cause I'm a time watcher, I'm a clock watcher. I wrote that song in 17 minutes. And so I went back the next day and I played it for him. He said, Jesus, he said, you've written a standard. I went, is that good? 'Cause I did not know. I didn't know what a standard was, I was so stupid. So anyway, he played it for Bobby Bear and he passed on it. So undaunted, I just grabbed my reel-to-reel tape and thought, I'll just run down the road and play it for Whalen 'cause it was just the same street, you know, one street over and that's exactly what I did. And the lady at the front desk was Hazel Smith, a real famous character in Nashville. She found a big journalist, but she was Whalen's receptionist. And another odd serendipitous thing is I was doing a lot of commercials at that time. Local commercials, I was that girl after the news in the evening that did all the commercials back to back and back and I just drove everybody crazy. I was the Ray Bats girl selling furniture and singing the jingle that I wrote. So I ran into Hazel's, by Hazel's desk. And I said, I wanna play Whalen my song that I recorded of his called "Back in the Country" and he wrote it and I'd like to play it for him. And this was not my heroes. This was another song I had recorded. And so she said, she tries to talk back thing to his office and she said, "Whalen, the Ray Bats girl is here to see you." (laughing) Unbeknownst to me, Whalen had a little crush on the Ray Bats girl. I'd never met him, you know. So I walked back there and it was like, "Well, come on in, darling." It was like the, to the spider, to the fly. And so I played it. I said, "I brought your song to play." I recorded for ABC Dot and I'll sit here and he listened to it and he said, "That's real nice too." And he said, "But I didn't write it." It was Will Jennings and Troy Seals, not Whalen Jennings. And so there I stood with Ray Bats' egg on my face. And so I just ran, I said, "Wait one minute, stay." 'Cause I've had dogs on my life. So I'm talking to Whalen Jennings like an obedient puppy. I said, "Sit, stay." And I ran back by Hazel. I said, "I'll be right back." And I got my reel to reel out of the car and ran right back past her. And I kind of tossed it across the desk to Whalen and I just said, "Here's this song I wrote just for you." - Well. - So he says, "Okay." He was very tolerant and he put that tape on and he played it to the end of the first verse and stopped it. And he turned around and he was in this big old black nogahide chair, you know, the long greasy hair and so typical Whalen Jennings. But he turned around and he said, "Who wrote this song?" And I said, "I did." Uh-huh. So he rolls it back and he plays it through the first verse and then the chorus and he stopped it again. He says, "I want to know who wrote this song." I want to know who wrote this damn song. He says, "And I said, 'I did.'" So he does that three times. And after the third time he got the expletives got a little harsher and swamp girl made an appearance. And I leaned across the desk and I said, "I'll just, you know, I'll just," and so he played it three times straight through no stopping. Picked up the phone and called Jack Clement who was happened to be in Beaumont, Texas, who was his producer at the the legendary cowboy Clement. And he said, "Colonel, I want to tell you something." He said, "Aren't you to fly in tonight?" We got us a song to record. And he recorded it that night. - Wow. You know, if you'd gone to Will with that song, I mean, Will was a really nice guy and a great songwriter, but he wasn't whaling. - Nope. And I knew Troy, Troy was a friend of mine. You know, I did a lot of sessions with him. Troy Seals, who was the co-writer, but I was in a jam. I had to do something. There I was having played this song for Whalen and he didn't write it and I had to do something. - You know, I had dealings with Whalen in the restaurants over the years and he was not an easy guy to get along with. - Apparently not, apparently not, but if you're the Ray Bats girl, it helps. - That's what I was going to say. If you hadn't been the Ray Bats girl, you might not have gotten into his office. I don't think he would have let you in his office if you hadn't been the Ray Bats girl. - I don't know, but he was very generous with me. You know, I was cute little, innocent. But crazy kid, you know, and he never made any untoward movements toward me. I don't mean to indicate that 'cause he did not. I've been really fortunate in my career 'cause I have not had that experience. - I think he, you know, he was married to Jesse Coulter and they were, you know, they were very committed to each other, I guess. - Oh yeah, yeah. Did you know Florence Warner? - Yes, I did. - She was, I knew her well through Norbert Putnam and the husband. - I knew Norbert really well too. - Yeah, she was such a talented singer. She was a great jingle singer too. I didn't know that, I didn't know that you had done that. I didn't know that part of your career. - Oh yeah, I did, I worked every day. I worked with the Nashville edition, but I was the lead singer in the Leah James singers. And I also worked a lot with the Jordan Ayers. You know, when they needed girls, it was me and lots of times Millie Kirkham, Kirkham, you know, she did all the high up legato stuff in the ghetto and all that. But I worked with them a lot. And I also did jingles. I did Kentucky Fried Chicken, American Airlines, United Airlines, Atlas Landlines, Alcoaluminum, Kentucky Fried Chicken, all this stuff, yo. - And Ray Bats. - How old, Ray Bats was very lucky to have you. How old were you when you wrote Heroes? - I was, I had just turned 21. - That just, that doesn't seem possible. - I know, I know. And, you know, I keep songwriting all over the world. I'm with the songwriting academy out of London. And I just got back from Spain not too long ago for a week long teaching session up in the mountains of Spain where we had the students come in and we stay there for a week and it's very thrilling and very gratifying. But I tell them, I said, first of all, I cannot teach you how to write a song. I can't do it if that's what you're expecting. That's not gonna happen. If you have the talent, I can assist you. I can give you shortcuts and how to avoid the pitfalls that I went through, which to be very honest, weren't that many. I mean, I was so fortunate. But you can't teach someone how to write a song, but I do tell them, you do not have to experience something to write authentically about it. And if you don't write authentically, don't bother. But you do have to be able to relate and be empathetic to your character, to the point where you look at your arm and you don't see your arm, you see somebody else's. Or you look at your clothes and they're not your clothes, or your fingernails and you wouldn't have painted them that color, you have to be so empathetic to the character that you can insert yourself into their body and into the scene without falsifying anything. - Yeah, I can understand how you can hypothesize what a song should say about cowboys. I don't understand how you can write something that's so deep. The thoughts in this song are so mature. They aren't the thoughts of a 21-year-old. - No, they're the thoughts of that cowboy that was lying there on that clock in a flop house, which I've never seen either, staring at a bare light bulb above his head with his legs, his ankles crossed and his boots still on with mud on them and his hands behind his head on a pillow caseless pillow. Those are his thoughts, not mine. - I don't understand. - I got to say, I embodied that, that's exactly who I saw when I was writing this song. I saw the room, I saw the dust on the dresser, I saw the light bulb hanging from the ceiling, bare light bulb, I saw him with his arms and his hands behind his head staring at that light bulb and his legs and his ankles crossed with boots on still, lying on a cot with no sheets. I saw every aspect of that and you know, good, well, I've never experienced it. But I was looking at the world, I was looking at his world through his eyes, not mine. Now, true, I did grow up on a ranch. - Right. - True, I do know that cowboys are laconic and they don't talk a lot and they keep everything inside and they brood and there was this one cowboy named Arlie who broke two-year-olds for my father, for us. And he would get on a young horse and ride round and round and round and round in the paddock. And I'd sit with my, on the fence, with my feet tucked underneath the next rail and I'd watch Arlie run around. And every time he went past me, I saw in my mind's eye, Roy Rogers, and he tipped his hat to me, that white, beautiful hat. And I was sitting there, not in grubby little t-shirt and shorts, I was sitting there in a red velvet gown with feathers on the shoulders. So this imagination wrote this story for me. Arlie never said a mumbly word, by the way. Never tipped his hat, never said a word. All those years. - Hey, gosh, gosh, so when you, just a little bit more about heroes, when you sat down to ride it, did you, like, was it a intellectual pursuit of, okay, I'm gonna write this song and this is the story it's gonna tell and I gotta kind of make it rhyme or did you, is it like you channeled that cowboy in that room with that dirty light bulb? - Yes, yes, and, and I would say, and I wrote lyrics and music at the same time, simultaneously. Because that title sang itself to me. There's a beautiful thing that happens when you write songs if you stumble across that perfect title. I always try, I always, always make sure it sings. 'Cause I'm a singer. I'm not a musician, but I know chords and number system and all that stuff, but I've been too lazy to sit in a room and repeat, repeat, repeat, repeat and play an instrument. It's a flaw, it's a personality flaw, a character flaw that I hate practicing with. But my imagination has been my magic carpet and it's also been my way to access all these stories that are, I don't know, I guess they're in the ether or something, but if you pay attention, and I do tell this to my students, pay attention and if you ever feel like you're drawing up, which I had one guy, one time practice, practically verbally assault me because he said, I know you know how it feels to dry up soon. I'm implying you'll beg you, but I said no, I do not. Because if I start feeling like I'm scraping the bottom of the wheel, I go to a cafe, I sit in a booth and listen, I take a cab ride, I get on a subway or a bus or somewhere and just eavesdrop on the world because I never knew a single person who didn't have a story to tell and wasn't really at the bottom of it all, really eager for someone to listen to it. - Is it a, how can you write the music if you don't play an instrument? That's, I wasn't. This is my instrument, my voice is my instrument and it does a lot of stuff that my fingers would not be able to do. - Is "Heroes" the most recorded song in country music? - That I wrote? - Yes, no, of all. - No, I don't, I don't think so, but it's recorded a lot, yeah. - How do you feel about the ranch? (chuckles) - Are you willing to say? - I'm not that familiar with it, to be honest. - Well, your song is the theme song on this Netflix show called "The Branks Branch" with Sam Elliott. - Now, Sam Elliott, I can comment on. (laughs) - Yeah, I can imagine what, well, so it's, so it's, my understanding from our mutual friend, Whitney, is that you don't really write country music anymore, is that true? - Not totally, no. No, I write country music once in a while, 'cause I'm actually in a month from today, I'm moving back to Nashville. I had a place there anyway. No, no, that's, that's, that's too claustrophobic. (laughs) And you know what I mean. So I just, I'm selling, I'm in New York now, where I live, in Long Island, and it's a lovely, lovely place. But, but as you know, I travel so much that this is a big house with land and responsibilities and I just don't, I just don't wanna invest my time and energy in that. Because I go to, I'm going to Sweden in eight days for two weeks and I write in Sweden and in Norway and in Denmark and Spain and the UK. And I'm also teaching a master class in Ireland in October and recording, they're doing a song and the songwriter special network show that they're filming on me in October. So, I'm kind of on the move all the time and so that's why I'm moving back to Nashville to a smaller place, a lovely little place, but it's still, it's not this, you know. - So tell me about this show. - Well, it's, there's a great writer, Don Mescal, and he asked, called me and asked me if I would teach a master class. They have this big festival at this little county something in Ireland, it's not Dublin and it's not a major city, but the whole county has this festival and it's pretty out of this world fabulous. So, and he has, he bought a church that he completely reconfigured and it's this gorgeous place and has a studio, has film studios and everything. So, he asked me if I would, first of all, teach this master class for about three or four days and I said, yeah, absolutely, 'cause I do that quite a bit. And then he asked me if I would come and stay longer and have them film this episode on me. So, and I'm gonna do basically what I'm doing right now is just talking to them and like I'm talking to you. - So now you're, I understand you're involved in Eurovision? - Yes, I actually have, I hold the record for the most songs lyrics written for Eurovision any one year, so. - Wow, have you won it? - I have come in third, sure have, with a Russian artist. - Really? - A song I wrote with a Greek producer on a Russian artist and he sang it in English and it almost won it. Well, maybe this is the year. (laughs) - I don't even know, I have one in year, in year, in this year yet, but I have, I've done a couple songs. - I'm aware that Eurovision exists. I'm not exactly sure what it is. Can you tell us what it is? - In a nutshell, it's the world's biggest song contest or talent contest. It's supposed to be a song contest, but it's top of the line broadcast quality. I mean, it has everything. It's like the most exquisitely produced television show, talent show you'll ever see. And it plays to 250 million people. It's bigger than the Super Bowl. - Well. - And so you've written more songs for it in one year than any other songwriter. - Yep, who knew? (laughs) - Your songs have been heard by a whole lot of people then. - Yes, they have. - You know, it's interesting you mentioned the countries where you write songs. There are, you know, I look at where this podcast has been downloaded. Of course, it's most downloaded in the United States, but after that it's Norway, Finland, Russia, and Ireland are the most downloads, which I think is very surprising. Well, France is, I'm sorry, France is number two, but after France, it's Spain. It's the countries you listed where you write music. That's interesting coincidence. - And it's so funny, I never know what it's going to be when I go there. - Yeah. - I mean, up close to the time, I find out, you know, 'cause I always research who my co-writers or artists will be, but I mean, it could be anything. Because, you know, when in 2008, I had been in Nashville, you know, my whole career, like Madam Nashville. And I up sticks and moved to Sweden. And I didn't know but two people there, and they were just colleagues, they weren't personal friends. I moved with my dog in the middle of winter. I had bronchitis. I didn't know the language. I didn't even know where I was, really, to be honest. And I moved into a big apartment building. I'd never lived in a city in my life, in a, you know, capital city. And I'd never lived in an apartment building in my life like that, in the middle of everything. So, there I am, sick as a dog. And I thought, and my dog looked at me, his life, he says, "What the hell have you done to us this time?" You know, but anyway, a friend, this is one of the colleagues that I was talking about, called me, and he said, "I have some songs that I need you to work with me on." I said, "Great," and his name was Anders Hunson. And the artist was named Agnes. And Agnes was very, very young. She may have been 19. And she had won a talent contest like a star search thing, or something like that, when she was 16. And then she just kind of fell off the mat. So here this was a clawing her way back. And we wrote this song, and Anders called me over to come hear the final on it. And I had something run over my body like, "Oh boy, this feels different. "This is not just another radio song." Well, within four months, this song called "Release Me" was a hit in like 48 countries around the world. And you would be hard-pressed to find somebody in Europe or even the United States who hasn't heard it, because it became the anthem for every workout routine in every gym around the world. And I won the Grammy within four months of being moving to Sweden. I won the Grammy on that song. - Wow. How old were you when you invited Mel Telles to come here, here you sing? - 19. - That was a pretty ballsy thing to do, was it? - It was insanity. I mean, I guess for so long, it never occurred to me that people wouldn't have a good time with me, that I was, because I was so honest and sincere, 'cause there was no, and I never, this is the truth, except for seven months, I wrote for an ad agency. And then I wrote for money. I got paid a certain amount every time somebody took the ad. But other than that, other than that seven months, I have never one time written for money. I don't write for money. People, I've had one person since then, which was like last year, pay me to write with them, which I found so bizarre, but they insisted. But I've never, ever written with money as my goal or my destination. And I think that's what's been my, my salvation to be honest. - Who produced the Willie Nelson recording of Heroes? - Jack Clement. - Jack, he produced both Waylon and-- - Oh, Willie, oh, Willie, oh, I'm sorry, sorry, sorry. I was in Waylon Land. Sidney Pollock, the film producer. - Oh, the movie, the guy that wrote the movie. - Yes, yes. - 'Cause the orchestration is just incredible. With streams and the horns, it's incredible. - Yeah, but this is a total different animal than what you played and what Waylon recorded, because Waylon is dirt bear. - Yeah. - And, you know, people have mixed emotions about that. First time I ever heard Sidney's version of it was in the theater. I was nominated for an Oscar and didn't even know it. And I'm sitting in the theater and the first scene in that movie, basically this song tells the story of this character. - Robert Redford. - Robert Redford. - Yes, exactly. And I'm sitting there with tears pouring down my face and I just didn't know, you know, what do you think? - You know, and Jane Fonda. - And Jane Fonda, she was magnificent. - Just a little movie for your song. - Yeah. - You know, he, I didn't know this, but one night at Julian's, the restaurant in Nashville, this guy came to the front door and said they didn't have a reservation, but they'd like to have a table for two. And I said that we were full. We didn't have any tables. It would probably be an hour and a half. And I read in the newspaper the next day that it was Robert Redford that I turned away. - Yeah, I read that too. - Robert Redford was out in the car waiting to see if we had a table. So, you know, that's my brush with greatness with Robert Redford. So-- - And I turned down, I turned down producing Taylor Swift, how stupid am I? - Well, I think it's worked out okay for you. - Yeah, but that's one, that's one of my true regrets because I was producing an artist from Ireland and Taylor's parents and her dad and mother asked me 'cause I had written a couple songs with her and they asked me if I would produce her. And I felt that I was so silly. I mean, I didn't realize I could do more than one artist at one time. And I said, I feel so loyal to this girl. And so I turned Taylor down. And it killed me because I called Joe Galani and I said, Joe, let me tell you something. You may not know what to do with this girl 'cause he had not signed her. She was on a developmental deal. And I said, you may not know what to do with her. I said, but she is freaking brilliant and you better sign her. And he didn't. - I understood that her mother was very difficult to deal with and things improved for her after she took over managing her own career. I did not find it to be the case. Her parents were, of course I wasn't involved later on, but her parents were gracious and they invited me to their holiday house that they have, their vacation home that they have up in the Northeast. And they couldn't have been, and I went out to their house and they took me out on their boat. So they could not have been more wonderful and Taylor loves and adores them. And her mother goes almost everywhere with her still. - Do you like her music? You think she's tremendously talented, do you like? - I think she's tremendously talented. And I think she's also very insightful and she's a hard worker. And I could not be more thrilled for her success. - Are the stories about her, I don't know if you know, but I'll ask, are the stories about her tremendous generosity with people that work for her and are those true? - They are absolutely true. And I'll tell you who else that's true about, and that's Garth Brooks. - Yeah. - Garth Brooks is one of the finest people I've ever met in my life. So, I have the honor, he inducted me into the National Songwriters Hall of Fame. - Did he really? - He sang heroes. Bill Anderson inducted me, my precious Bill Anderson. And people who may not know, Bill Anderson's one of the foremost country writers of all time, and he still writes and he's no spring chicken, but he's relentless in his ability to work and his talent. So, I can't speak highly enough for the people who have shown generosity to me. I never had a mentor, I never did. And that's why I think what I do with these songwriting classes and the university classes, well, I think it's important because I want people to have what I didn't have. - Garth changed country music, right? - He sure did, and he came to my office before he had a record deal. And he sat on the corner of my chair and he said, I just wanna come here and see the person who wrote my heroes have always been capitalists. - Wow. - And then he wanted to write his first album with me. And unfortunately, I was married at the time to someone who was my songwriting partner. And that would have blown that sky high and I had no choice but to turn Garth down to. (laughing) - I think you need a business manager. - I think I need a psychic. (laughing) - You know, I went, you know, I used to own a restaurant on music row called Tuken. And I went in one morning and this fellow was sitting at the bar doodling on a cocktail napkin. And we weren't actually open yet. It was like 10, 15 in the morning. And I went over and said, it must be nice to just hang out at the bar at 10, 15 on a Wednesday morning and drink a beer. And he said, well, you know, you can write a song anywhere. And it was Garth before anybody knew who he was. - Well, that man has no pretension. And I wrote with him not too long ago and he said, are you hungry Miss Sharon? I said, yes, I'm home. He said, and he said, okay, well, I'll get us some lunch. Well, in about 30 minutes, it seemed like a blink of an eye. His kitchen and his studio was full. He said, what do you want? I said, I love some fried chicken. It was full of fried chicken and all of the stuff, you know, mashed potatoes and green beans and biscuits and gravy and blah, blah, blah, on and on. And when I left, I turned around on the stairs and I said, Garth, I can't believe you did all this for me. He said, well, hell, you're Sharon Vaughn. - That is so very good. - And I have held that as, as the baptism for me for a long time. And when he sang heroes at the Hall of Fame, he unsang it, if you know what I mean. He had his guitar, that was it. And he stood there in the light and he had his head down and you couldn't see his face, but when he lifted his face, there were tears rolling down his face. And when he finished, he went like that, just like Boy Rogers would have done. - So you finally got the tip of the hat? - I got the tip of the hat and I've never thought about that and just write this, that thing. Ooh. - We have to end there. - Yes. - Because anything else, anything else would just be a terrible anti-climate. - Well, I'm so glad to see you. - I don't really want to. I don't really want to. I could talk to you for hours, but it would be a mistake. - Thank you, Hoyt. You're so gracious and so nice and thank you for giving me time to spout. - Well, you know how I feel about you. There is so much love coming from Minneapolis, St. Paul to you. - Thank you. - Right now. - Thank you so much. I've been back at you. Come back to Nashville. - Well, I'll be back. I was there and I'll be back and we'll connect now that you're back. - Okay, good, good, good. - I'm going to play just a little bit more of your amazing, amazing song to end things. And thank you. - Okay. - This has been, this has been a, I've recorded almost 100 episodes of this podcast. This is the best. - Oh, thank you. Well, you're the best and I'll see you soon. Okay. - ♪ My seed ♪ ♪ Sat in search of ♪ ♪ One step at my hand now ♪ ♪ Themselves ♪ ♪ And their slow food and cream ♪ - 21 years old, you wrote that line, "slow-moving dreams." - Countable on your special. - That's miraculous. - Thank you. ♪ Break this red ♪ ♪ It's been a long ♪ ♪ Too long ♪ ♪ To die ♪ ♪ From the coast ♪ ♪ And the arms of the night ♪ ♪ Have now ♪ ♪ Mowing well ♪ ♪ That your best day is raw ♪ - Thank you, Mo, so much, Sharon. - Thank you, Mo. Joy and honor and honor. Thank you. Thank you. See you soon.