Reclaiming Irish Identity Through Story and Song With Randall Stephen Hall

What if your identity lives in the words you use, the places you remember, and the stories that were never fully told? 

In this episode, Aideen is joined by songwriter, poet, and storyteller Randall Stephen Hall from North Belfast to explore Irish identity, cultural memory, and the role of creativity in reconnecting with our roots.

Randall shares reflections on growing up during the Troubles, discovering how culture can be quietly shaped by silence and schooling, and why Irish place names, Hiberno English, and storytelling carry deeper meaning than we often realise. 

Through music, memory, and personal insight, this conversation becomes an invitation to trust your own voice, honour your heritage, and allow creativity to bridge divides.

Key Takeaways

• identity is often shaped by language, place names, and cultural storytelling
 • silence and schooling can influence how culture is understood or remembered
 • Irish place names carry meaning and history that deepen connection to land
 • creativity can bridge divides and reconnect people to shared roots
 • storytelling helps recover forgotten or overlooked cultural narratives

Connect with Randall

Website: randallstephenhallsongs.com

Website: randallstephenhall.com

Soundcloud: Wake The Blue Sleeper (2025)

YouTube: Red Man Rua

YouTube: The Wee Wee Man

If this conversation sparks something in you, subscribe to The Resonate Podcast, share this episode with someone interested in storytelling or Irish heritage, and leave a review to help more people discover these conversations. What part of your own roots are you curious to reclaim?

Transcript

Welcome And Guest Introduction

Aideen Ni Riada 0:03

Welcome to the Resonate Podcast with Aideen. I'm Aideen Ni Riada, and today's guest is a songwriter, poet, and storyteller Randall Stephen Hall. Originally from North Belfast, Stephen writes songs, poems, and stories about Irish history, identity, and place. Since 2007, he's released eight albums, including his latest, Wake the Blue Sleeper. Stephen's work first reached a wider audience when legendary broadcaster Jerry Anderson discovered his music and invited him on his show. And his mission is simple: to bring people together through song and storytelling while celebrating Irish history. Welcome Stephen. Tell us a little bit about your childhood and how that has informed your work today.

Randall Stephen Hall 0:59

My childhood, I grew up in Belfast, grew up in North Belfast, as you said, and I didn't really know what I was going to be experiencing later on in my childhood because this was pre-Troubles. I didn't know what labels like Catholic or Protestant were. I grew up in a house where we were given a kind of freedom that was um liberal in a sense. And you didn't feel totally branded by one brand. You just experienced what you were experiencing. And then when the troubles broke out, I won't go into it in too great detail, uh, it made me deeply curious about why what the narrative was that brought me to that place when I just appeared out of my mummy's tummy in North Belfast, totally uh unconnected to what other people might describe as the Irish experience or the British experience. I just had my experience, and uh as time went on as and as I experienced stuff on the streets in Belfast and watched the news and soaked up uh observances that informed me that uh the culture around me wasn't all up for grabs, that only part of the culture was up for grabs. And I would have learned that later on because when the penny dropped, that I was going to a state primary school, and then I was going later on to a school called Belfast Royal Academy that was uh um an interesting place to attend, but it was it but it would have had predominantly uh Protestant pupils.

Aideen Ni Riada 3:18

Not completely it's worth mentioning, like even the word royal being in there, yeah, that comes from the British occupation of Northern Ireland. I mean, don't want to necessarily say that in an incendiary way, but I know, yeah. So I mean, Northern Ireland is part of the United Kingdom, yeah.

Randall Stephen Hall 3:39

Even the phrase, even the phrase, yeah.

Schooling And Missing Irish Culture

Aideen Ni Riada 3:42

Yes, and so when you grew up being from the Protestant uh religious background, you were going to the that cultural that more the British schooling system, and because of that, Irishness had been diluted in that school system. Would that be right?

Randall Stephen Hall 4:07

Yeah, it just wasn't very available. I mean, there would have been a time away back in the mid-1800s when schools like uh Inst, which was which was another grammar school, taught Irish, but that doesn't happen now. Um and uh going to the yeah when I look back on it, um I didn't hear very much Irish mythology. We weren't doing workshops on Irish mythology, uh, we didn't have access to the Irish language. There weren't there wasn't even a form of teaching that explained that most of the location names in Northern Ireland were Anglicised Irish location names, which could still be used now to explain many, many meanings of words through that one area alone.

Aideen Ni Riada 5:03

So a lot of fascinating play. Um, you probably know about this translations by Brian Freel. And yeah, yes, I when I left school, uh secondary school, I wanted to act. And I my audition piece for the acting college was from translations by Brian Freel. And so I hadn't actually heard of it, but that's a very interesting story about the men who went around and they were trying to figure out how to make a very How do you write this down? How do you write this down? Yeah, I mean it's it's interesting because the word Dublin in the with the capital of Ireland translated in Irish is Baliahoklia, which is the um the town of the dark lake, I think, something like that.

Randall Stephen Hall 5:49

Yeah. Um something you could call it Blackpool.

Family Roots And Early Influences

Aideen Ni Riada 5:52

Yeah, you could. Um, but it's they already had one of those in in the UK, so that didn't. Um so there's there's interesting place names. I think that's really an interesting part of the heritage, and it comes down to our roots, and your identity and who you are is often informed by where you've come from and your roots. And it sounds to me like you wanted to go deeper.

Randall Stephen Hall 6:20

You weren't satisfied with yes, ever since I was a wee boy. Um, I've been one of my main uh well, one of my gifts is being able to observe and being able to listen while you're not a big presence in a room, you're a child. So I've been doing that my whole life, and that was one of the ways that I was being informed. Uh, for instance, um a lot of my neither my mum nor my dad came from Belfast, so they were outsiders too. Where are they from? My mum was from Cool Rain in North Antrim, and my dad, uh his dad worked for the Northern Bank. So, because of that, he was born in Milford in Donegal, and he also lived in Bray, and his sister too lived in Bray, and he even won a silver medal at the Dublin Fesch playing the piano, maybe about 1941.

Aideen Ni Riada 7:23

So he would have had normal Irish culture, he was from well, his sister was 18. 18, same as my name. Yeah, yes, as we've talked before, and and uh there's but being having grown up in in Donegal, he would have had access to more what we would know as Irish culture from the Republic of Ireland, yes, but he didn't bring that to you then during your childhood.

Randall Stephen Hall 7:50

No, um he um he uh he his dad wanted him to go into the bank and he wanted to become an architect, and he did it a real hard way in private practice, eventually became qualified by doing an exam in Edinburgh, and I hope I'm not rambling here, Edine. Uh, and he was always musical, uh, so that and my mum was musical too because she sang in choirs in Colorain. Uh so I was being given all the stuff that I wasn't fully presently aware of, and uh no, he didn't give it to me, and we didn't really talk. My mum occasionally would have referred to me as being a quarter Irish at the tea table, and uh but my dad didn't we didn't really get talking about his Irishness until maybe the last couple of years of his life, and he died very young, he died at 52 of heart heart issues, so um he he loved um different parts of Ireland, and when he came north because his father was a bank manager in Armoy, which again is north northandrum, he was a day boarder at Colery and Innst and he just didn't like it, it didn't, it wasn't his thing.

Trauma Roots And Finding Your Voice

Aideen Ni Riada 9:13

Um well coming back to to you for a minute, why do you feel it's important for people to find a connection to their stories of the past and their culture? And why was it why is it important for you and why would you think it would be a good idea for others?

Randall Stephen Hall 9:31

Well, uh for instance, the I'm sure there's a lot of people out there watch the likes of Gabo or Mate, uh, and he would be very into how trauma can can shape the way that you look at things, uh, and how it can compromise your authentic self right from birth. So I think one of the reasons that I would suggest that people look into their roots or discover their own history, and also they should do it, they should do a GCSE in this, in standing up and speaking for yourself.

Aideen Ni Riada 10:10

So a GCSE is a qualification, a secondary level. So it would be like your it's not a lot like an SAT, but it's that that age group. Yeah, a bit like drama. You know, but being you would suggest people should be able to stand up and speak about who they are.

Randall Stephen Hall 10:28

Yeah, and also don't be turned off by learning by by not using the broadest selection of words you have to hand, because they are a gift.

Aideen Ni Riada 10:41

Now, what do you mean by that?

Randall Stephen Hall 10:42

Okay, uh there'll be different sections of society who speak a particular way, and they they they they uh dilute the breadth of their vocabulary. That's one thing. And they they feel I'm not I shouldn't be speaking on their behalf, they feel they should be speaking like their contemporaries wherever they grow up. So wherever they grow up and whatever they experience, uh like a you you could sound like you come from Belfast in different ways, in different signs. You know, there's it's like a different menu, just looking at Belfast.

Aideen Ni Riada 11:24

Uh but a lot of that would be in terms of accent as well as the word.

Randall Stephen Hall 11:28

It would go along with accent, it would go along with using grammar in a particular way. Like like we, if if I went to um Essex or somewhere somewhere down in the southeast of England, they would automatically know that I'm from Northern Ireland because of the way that I sound. Not just because of the way that I sound, but because of the way I construct the words in each sentence, because I am speaking Hiberno English, which is governed by Irish grammar.

Aideen Ni Riada 12:02

Yes, fascinating. So you're suggesting that people allow that creativity into even how they express themselves through how you're gonna be able to do it.

Randall Stephen Hall 12:10

Yeah, absolutely, absolutely.

Aideen Ni Riada 12:12

Yeah, and look, tell me a bit more about say, because you're the reason you're you know doing podcasts and um is because of your you want to share your how you developed your creativity and what you've done, but I know that coming back to Irish culture wasn't something you did your whole life, it was after a career for a long time in advertising, isn't that right?

Advertising Career And Deeper Meaning

Randall Stephen Hall 12:37

Well, what happened was um in uh I'll give you just to give you an example. Uh I left I left art college in 1980 and I worked for eight years for a few ad agencies in Belfast doing graphic design, right? Uh although in my day there were no computers, and you started off uh creating artwork with pay stop, right? Uh to be realistic. And uh I learned a lot in the in those eight years, but one of the things I felt before I went freelance was a lot of the work that I was working on wasn't very deep. It was selling meat, it was selling cars, it was selling beer, it was selling, you know, just everyday items. It wasn't very deep, and uh, but it taught me an awful lot of skills that I then utilized to try and dig into the deeper stuff, maybe 10 years after that, around coming up to 1998, um, when I published a wee book called The Giants Causeway. And uh so I was taking all my uh I hope I haven't jumped ahead of myself, Aileen. When I uh I self-published a book that tells the story of the Giants Causeway in such a- Which I love, by the way, which is beautiful. Glad you liked it. Glad you liked it.

Aideen Ni Riada 14:00

And it's it's I think what you're saying there as well is that you found meaning. There was like there's more meaning when you were creating something about the Irish culture that was that was lacking when you were working in in advertising.

Randall Stephen Hall 14:15

Yeah, well that that that's one aspect, but also the Giants Causeway story is a is a story that um encompasses the links between the Northeast of Ireland and Scotland, and how it reflects an earlier period of time when you weren't looking at countries like states, like modern states. You were looking at areas of trade and influence, and how the IRC was like a motorway as opposed to a blockage, and how how language passed from Ireland to Scotland to give it its name from the point of view of the Kingdom of Dal Riada, things like that. So things like that really fascinated me. Oh, sorry, I've got these jingly things in the studio, um, and around 1985, we were in the process of having our first daughter, Natasha, and we uh stayed up in Donegal for the first time in a place called Lafferty's Holiday Homes, and we had the joys of staying in their family's original cottage that had a valley in the middle of the bed and all the peat you could burn, you know. And Natasha was pregnant, uh Anne was pregnant with Natasha, and we walked past a road sign, and I said, Why don't we go to Tra Beach? Why don't we go to Tra Beach? Not knowing what Tra meant, not knowing that it would have a relevance to words like Cultra in uh in County Down, which is by the water, the corner.

Aideen Ni Riada 16:01

When close to where I'm from Tra Moor.

Randall Stephen Hall 16:04

Yeah, yeah, yeah.

Aideen Ni Riada 16:06

Um so the tra means strand, I think, doesn't it?

Place Names Irish Language And Identity

Randall Stephen Hall 16:09

So it just means so would it mean like big beach? Big strand, right? Yeah, so a lot of these elements are are there to be found. Like um uh I sometimes use the word singing sand, where you pick up these wee grains of information and you add them, you maybe put them in your shoe and you carry them with you, and you never lose them once you've found them.

Aideen Ni Riada 16:36

But you have to find you have to find them, and you have to it's a richness that brings it brings richness into your life. So, for instance, my name is Aideen, and the E-E-N at the end of my name has a meaning in Irish.

Randall Stephen Hall 16:50

Is that small? Small exactly so is that linked to Aidon or Aden?

Aideen Ni Riada 16:57

Aideen is a kind of a yeah, but my name actually, if you go back far enough, is spelled little completely different, uh, with the E A D A O I N.

Randall Stephen Hall 17:06

Yeah.

Aideen Ni Riada 17:07

So the the the the version that I have has that that small in there, and that gives that is nice, isn't that it's a nice to know what your name is.

Randall Stephen Hall 17:18

Oh absolutely, yeah, absolutely.

Aideen Ni Riada 17:20

And then also, you know, we know that oh Sullivan and the O Malies, and oh is used a lot in um in Irish names, and it means son of. Yeah, and I never realized that uh that you could add Ni, which would be daughter of. So there's a there's a lovely richness to to Irish languages, is which is one of the reasons why my name, my last name is Ni Riada, which I changed. My family go by Reedy, but the Gaelic for my name, for my father would be O Riada, son of Reedy, and for me, Ni Riada, daughter of Reedy, and it helped me like you. I wanted to connect more deeply with my Irish culture, and that was a way that I did that, and and for you, it's been a lot about continuing to create and to connect others to Irish culture through your creations, yeah.

Randall Stephen Hall 18:17

Yeah, uh, you were saying about the O's there. You can say, uh, oh, come in now, you know, you're welcome. Uh I just once I find information, I want to share it with other people. Because whether there'd be some people, they just don't care, they're not interested. Um, but I'm on the hunt to share some of this information that I've gleaned over a long period of time. So I'm a man who's grown completely out of ignorance, you know, a bit like a plant that's found the right soil. A plant that that you go, oh, you don't have a how did a Stephen Hall plant get there?

Aideen Ni Riada 19:03

That's totally they normally grow over there, and you know, I think you value it so much more because the lack of it was there in your life earlier. Oh, yeah.

Randall Stephen Hall 19:15

Yes, there's something a bit lacking in that guy.

Live Song Wee Wee Man

Aideen Ni Riada 19:18

Yeah. Irish culture is lacking in that guy. Would you like to share a song with us?

Randall Stephen Hall 19:25

Um, yes, I could be I could be persuaded whether I'll give it a go. Um, years and years ago, my wife and daughters uh bought me this Kenyan hand drum. That's it's not like a boron, it's two-sided, right? Because there's there's two sides to everything.

Aideen Ni Riada 19:46

Except a baron. Yeah, except a baron.

Randall Stephen Hall 19:49

Yeah.

Aideen Ni Riada 19:50

Um so we'll we'll with the the song that you were planning to sing is called uh Wee Wee Man.

Randall Stephen Hall 19:56

Wee Wee Man. Yeah, and I can maybe tell you a bit about it after I've after I've sung it. I am just a wee wee man, I drive down the roads in my wee wee van. Don't go fast, I go right far. My coat and hands are dirty. I don't make much, I just make enough. The buttons come off my wee coat cuff. I look pretty small, I smell pretty rough, might be seen as scruffy. Jig jig jig, I'm not awful big, I'm just knee-high to a wee fat pig. Oink at the moon and a grunt at the sun. I'm the wee man, just look at me run. I'm the wee man, just to look at me run. But I once was an elfin king, still live out by a fairy ring. Hang my washing on a thornbush twig, dance as the moon, does a wee jig. I work round the farm, I work round the house, I move like a leaf, squeak like a mouse, sometimes bad and sometimes good. Wash in the ring and sleep in the wood. Jig, jig, jig, I'm not awful big, I'm just snee-high to a wee fat pig. I wink at the moon and I grunt at the sun. I'm the wee man, just to look at me run. I'm the wee man, just to look at me run. So if you see me, I turn a bite. Don't be scared and don't even shout. Just take care of it's in my plan, for you've just seen the wee wee man. Jig jig jig. I'm not awful big, I'm just knee-high to a wee fat pig. I ain't get the moon and I grunt at the sun. I'm the wee man, just look at me run. I'm the wee man, just look at me run. You wonderful. So that's a wee wee man. And I used to um do you want me to talk a wee bit about how that wee wee man is? Tell us a little.

Aideen Ni Riada 22:00

Tell us a wee bit about the wee wee man.

Randall Stephen Hall 22:02

It's based on an experience that I had when I was very young. I was about six years old and I was growing up in North Belfast. And I woke up one night and my brother was asleep. We sh we shared the same bedroom. And uh I woke up and I could have sworn I heard talking downstairs. So I got up, all the lights were off. I walked to what we call the head of the stairs. I was looking down the stairs into the hallway of our house. And uh out through a closed door came a wee figure, a wee man. He was like something that had been dragged through a hedge backwards. He was maybe about three feet tall. Uh, he wasn't glowing brightly, he was a bit like um someone had turned the dimmer switch down on him. And uh he had uh we ended up in a kind of standoff. I was on the stairs and he was in the in the hall looking up at me. He wasn't talking, we were just looking at each other. Um, all his colours were quite muted and monotone. Um he he you'd almost think he'd been created out of a thorn hedge, and he had eyes like raisins, he had a slightly bulbous nose, he had pockmark skin like he'd had acne when he was young, maybe when he was about 200, and uh because he seemed like 400 years old. He had a funny wee hat that I came across later on in the book that was like that was used by Irish archers, uh, looked a bit like a fez, um, and all his clothes were very raggedy, and he was just dripping with character. The only way I could describe him. So eventually um, eventually I went back up the stairs. Um, I did I should have walked down the stairs and said hello, but I didn't. I was kind of shocked, and I crawled you were only six years old in fact. Yeah, I was only six years old. I crawled into the my mum and dad's bed and I never told them what what had happened. And for years I kind of the story would come back into my head, or the experience would come into my back into my head, and over the years since then I would have experienced different things like unusual waking dreams and stuff like that, but that's for another time. Um, and uh I then uh years later, years went by, and I found out from historic monuments that the house that we lived in was on or right beside an Irish wrath, which is also a ferry fort. Wow, okay, so that's interesting itself, and then time went on again, and I was coming back from a workshop with children, and I wrote the song on the road, having taken some um water from a well, St. Aidan's well, um, near the coast, uh on the way up to Derry. Uh, so I'm very open to experiences like that. But uh, so all the the song, the experience, the archaeology, it all works together, and it's all like I kind of look back at it and go, Well, if you didn't see me as Irish, why the hell did you walk through that door and want to connect with me? So that makes me feel very Irish, very rooted in the place.

Aideen Ni Riada 25:35

Rather could you know I definitely see you as very Irish, Stephen. Very Irish.

Randall Stephen Hall 25:40

That's great. I'm very grateful.

Aideen Ni Riada 25:41

Yes, it's always nice to connect. Yeah, it is, you know, and I my mother is American, pardon me. So I discovered a lot of my Irishness later on, and obviously I'm Catholic, so and I was brought up in in the south, so it's a very different experience to you.

Cross Community Music And Punk Days

Randall Stephen Hall 26:01

Yeah, yeah, yeah. Very different. But I'll tell you, can I tell you a very short story? Um I used to play in groups when I was a teenager, and then uh groups. No, these these aren't these weren't like acoustic trad bands. Uh this was like uh during the period of punk. And um our the group that I was in uh later on was called Sixtele. That's that's what people would have shouted in Belfast when they were selling newspapers. It means the sixth edition of the Belfast Telegraph. Sixteley. You'd you'd hear people going Sixtelli, Sixteley, you know, in the street. And um, so we called ourselves that. And uh we we played in some of the punk venues. We were never really punks, we looked like an odd mixture of things, um, but we found it very difficult to get somewhere to practice. So we used to practice in a place called Holy Family uh primary school at the top of the uh limestone road in Belfast on a Sunday. Uh so mainly because we were like uh an accidental cross-community group. So that's where we found the best place. We also practiced, I think, at one time, in a nun's house, you know, because the bass player was Catholic, the drummer was Catholic, and uh the the other three of us were Presbyterian in in origin. And uh that we were very lucky. So I always look at experiences like that as being uh a wonderful mixture of things that enabled us to get our act together back then.

Aideen Ni Riada 27:49

Uh and now look at bringing out albums and everything.

Randall Stephen Hall 27:53

Yes, uh-huh, yeah. It's amazing what happens.

Aideen Ni Riada 27:56

We're going to be winding things up in a few minutes, Stephen.

Randall Stephen Hall 27:58

That's okay. That's okay. I can take it.

Aideen Ni Riada 28:01

You you could talk for a long time.

Randall Stephen Hall 28:03

I could, yes.

Aideen Ni Riada 28:05

Um, I have loved getting to know you through our preparation for the podcast, and thank you so much for being on my show today.

Randall Stephen Hall 28:13

Um lovely, I've really enjoyed it.

Aideen Ni Riada 28:16

I know you've got you've got a couple of books. You've got the Giants Causeway book, you've got another one.

Where To Find Stephen’s Work

Randall Stephen Hall 28:22

Yeah, yeah. Um, if anyone, if anyone's looking for any of this stuff, um if you just do a word search of my full name, which is Randall Stephen Hall, that will bring up a website, a music website, it will bring up an earlier website, and some of these uh some of these goods, I hate being commercial, some of these things can be bought online, you know.

Aideen Ni Riada 28:50

So I'd I'd invite people to check those things out. Um the the books are in the style of a children's book, so they're actually very colourful and coming from the background of your graphic design and advertising, you can see and it they're they're humorous as well. There's layers of of little jokes in there you can do you can't do without that, and I think that that's just so charming. I really enjoyed uh reading your books, it's very therapeutic, therapeutic for you and for others as well. So I think people would really enjoy what you have to offer. So I encourage everyone and invite you to check out Randall Stephen Hall. And is there anything, uh, Stephen, that you'd like to say to the listeners now before we finish up?

Creative Confidence And Closing Thoughts

Randall Stephen Hall 29:37

Um there's such a choice of things that you could say. Uh when I was a wee boy uh at primary school um early on, I was very slow to learn to read. And I would be the first one to say that I I really struggled in primary school academically. Now, one of the things that really amplified that was I didn't realize that there were at least three or four other children who were so bright, they would get uptight about getting 98 out of a test, you know. So they were very, they were very in a very standard way, they were very academically intelligent. But it took me a number of years to realize, well, I've got a different kind of intelligence that's going to work for me. It's equally intelligent, it's just different. So um from the point of view of self-criticism, I'd always be the first person to get the first punch in, if that makes sense, and uh so because of that, I'm generally pretty grounded about the skills and the gifts that I have, but everyone has gifts, everyone has skills and ways of mediating their world and giving stuff to people. What what one of the things I that I I feel most alive when I'm when I'm either doing a workshop or telling someone a story or singing them a song and I'm giving them something. That's and and most of the stuff that I'm giving them, I have merely channeled. It's come through me, but it's not the great, the great, world-famous Randall Stephen Hall doing all this stuff. Uh, in some ways, I'm a bit more like a puppet, and I'm merely being activated by the inspiration that comes from, as you know yourself, Aidan, somewhere else that you can then, and the more you get tied in with this inspiration, I would often describe it to children like a blue butterfly landing on your shoulder and quietly saying into your ear, I've got a wee song for you, Stephen. Listen up, pause what you're doing, and if you do, you'll get another song, you know. Because I've learned in the past, I if I said or thought, I don't have time for this right now, you won't get that song. So take the opportunity, take the opportunity, and and also for anyone who's interested in being creative, in whatever way it comes, you can grow that like a plant, or you can just grow yourself the more experiences that you have, and not to listen to the naysayers. I can remember when I was young, I would have so you know, when you're much more vulnerable and sensitive to voices like you can't really sing, Stephen. That's not for you. Well, whereas my core and my uh intuitive quality would have internally resonated with I think you're wrong, I think you're talking rubbish, I think I'm gonna find my own way forward and not listen to people like you. Does that make sense?

Aideen Ni Riada 33:06

It makes a lot of sense, and I think for anyone listening, it's really important to allow yourself to explore your creativity in whatever that way that might mean to you. So it might not be drawing, it might not be singing, it could be anything else. Um, and you know what we've been talking about today is well, is it doesn't really matter what your background is, it doesn't matter who your parents necessarily are or what they handed on to you.

Randall Stephen Hall 33:35

Um if you look like or what you exactly or how you come across, you'll feel it, you'll feel what you need to do within you.

Aideen Ni Riada 33:47

Beautiful. And on that note, thank you everyone for listening today. Thank you from me, AD Nyrida. Thank you from Stephen, Randall Stephen Hall. Uh, and we are very grateful to have you listening, and we are interested to hear about you as well if you'd like to get in touch with either of us. Thank you so much. Bye bye.