Well that's right. And really the challenge was, when I started the paper, was okay folks, you have to cooperate if you want to have your own publication. Because there had been other publications that had started and the purists said well unless you only do it about George Lewis I'm not buying that publication. Unless you only do it about Bunk Johnson, I don't have any time for it. Because they were so passionate about their particular musician. But nobody could exist as a publication. So my very first editorial said you're going to have to trust me that I will try and cover whomever it is that you're interested in, but you're going to have to wait and you're going to have to read other stuff. And to their credit they did, and they have remained -- I can't tell you how many subscribers I have who have every single issue of The Rag. Every single issue, which astounded me when that first started happening, you know, after the first year and I discovered that, you know it's a tabloid in newsprint and I thought well they'll read it and throw it away. No. They've kept them. Now as they've gotten older they're having to downsize and they call up and they say "I have 33 years worth of `Rags,' I can't bear to throw them out or recycle them, what can I do with them? " And I'll say donate them to a music library or take them to a nursing home or give them to a music school. Because they just cannot stand to part with them. It's really very, very sweet. But they did pay attention to that first editorial and honestly, that was like a mission statement and I really have not ever deviated from that over all this time. The Rag covers the whole spectrum of traditional jazz. And I do like the term traditional jazz, I don't like the term Dixieland.