And I think from that point, any chance I had, any project that I could bring Scott on for was always going to be the first choice there for me.

Yeah, well, the reason that I think we clicked and that we kept finding new ways to work together was that the first types of arrangements that Joshua had asked me to collaborate with him on were mashups of songs that didn't necessarily go together.

that was sort of the beginning of our working relationship, putting together TV theme songs with musical theater songs, with disco songs, with, you know, just a lot of the things that were already in Joshua's musical wheelhouse.

And we sort of, we used those early arrangements, I think as the trial run and the, the, the test case for what ended up being the Disco Sondheim album as a larger idea.

And it's just really creatively stimulating and a fun puzzle to try and figure out, okay, how do I successfully keep the integrity of these two disparate genres and put them together in a way that an audience member can recognize what is happening with these two songs happening at once, but then also feel like the resulting product is still something satisfying.

There was a lot of, uh, should it be, uh, disco Sondheim fever dreams, you know, but in the, the spirit of before and afters categories on what we have a fortune and jeopardy, you know,

but, but I knew that we knew that we wanted this to be the sort of like climax, the ending of the, you know, how to like wrap up, um, the evening was using this song.

Um, And then I think it was decided a little bit later on that we wanted to also open with this tune.