ep. 70 - Peter Buffett
Peter Buffett has an acclaimed career that spans more than 30 years as an Emmy Award winning musician, composer, philanthropist and author. He began his career as the musical mind behind many of the early MTV bumpers of the '80s, and the climactic crescendo in the memorable "Fire Dance" scene in 1990's Oscar winning film Dances with Wolves.
Peter is the co-president of the NoVo Foundation and co-chair of its Board of Directors. In partnership with his wife, Jennifer, he helps to guide NoVo’s vision, strategic mission, and program development. The NoVo Foundation focuses it's efforts in four key areas: Working sysetmically, they invest in the world's largest under-valued asset by Advancing Adolescent Girls' Rights; Ending Violence Against Girls and Women; Advancing Social and Emotional Learning; and Promoting Local Living Economies.
Buffett's inspiring book, Life Is What You Make It, has been translated in over 15 languages and has sold nearly half a million copies worldwide. Described by former President Bill Clinton as "a wise and inspiring book that should be required reading for every young person seeking to find his or her place in the world" Life Is What You Make It is about following one's passions over conventions, taking up the reins of your destiny, and living life to the fullest.
ep. 70 - Peter Buffett
Gail Davis: Today's guest on GDA Podcast is Peter Buffett. He is an American musician, composer, author and philanthropist with an acclaimed career that spans more than 30 [00:01:00] years. Peter is an Emmy Award winner, New York Times bestselling author and co-chair of the NoVo Foundation. He is the youngest son of billionaire investor Warren Buffett. You might think that Peter was born rich, and he was. Rich in the love, support and wisdom of his parents and grandparents. Rich in artistic talent and rich in opportunities afforded to people of a free society.
To paraphrase his bestselling book, "Life Is [00:01:30] What You Make It," Peter really has made the best of a good situation. As a composer, musician and producer, he has created music for commercials, television, film and theater as well as 16 albums. He has continued his creative endeavors in support of his philanthropy and as an advocate for positive change in the world we live in.
Welcome to GDA Podcast, Peter.
Kyle Davis: Hey Peter, how are you?
Peter Buffett: Thank you. Thanks. I'm great. [00:02:00] Thanks for having me here.
Kyle Davis: So in case people are listening and they're wondering why everything sounds really interesting, it's because we're doing a three-way call this time. So I wanted to get that out of the way. Peter Buffett: Yes, absolutely. Gail Davis: Yes, I'm live from Oklahoma. Peter is in upstate New York and Kyle is in Dallas so this oughta be interesting.
Kyle Davis: Should be fun. So if there's any lag or talking over each other then I think we figured that one out. I'll go ahead and start off. I think [00:02:30] for a lot of the listeners, they're familiar with who your dad is, Peter. But for those who aren't necessarily familiar with you, what's your background and how did you get into music and where are some places, and I know we've talked about it briefly, but where are some maybe scenes in movies or commercials where people may have heard your work before?
Peter Buffett: Well yeah, it's true. Everybody now seems to know my dad Warren Buffett, the "Oracle [00:03:00] of Omaha." And sometimes I joke about the fact that just recently I've become Warren Buffett's son because nobody knew who he was when I was growing up. And even into my 20s and 30s, pretty far into my career. Which was great because I didn't know what he did. I didn't know we had all this money piling up somewhere. I was a kid in Omaha, went to public school. I grew up what most would consider to be normal. My grandparents lived nearby, [00:03:30] all of that. And I loved playing the piano but really never took it seriously. But I saw my dad come home from work every day happy and loving his work and really satisfied with his life. And again, it wasn't because of the money. It's because he loved what he did. And he always said to me, "Find something you love. That's the best thing. It's not about anything else."
So music slowly became that thing. It took me a while to figure it out. I went off [00:04:00] to college and took everything that ended in 101 or -ology. And then when I ran out I realized music really was it for me. And I moved up to San Francisco. I was on the West Coast, from Omaha, and moved up to San Francisco. Started a small business and got into making these little 10 second interstitials for a brand new cable channel. And it was MTV. And suddenly I was hip by accident and my career sort of took off from [00:04:30] there, mostly working for ad agencies in San Francisco. Which is sort of perfect, because it wasn't a huge market like New York or Chicago.
But it kept me very busy doing a lot of interesting projects. The California Milk Advisory Board and all these things that if you were in the region you saw all the time. But outside of that ... Because people say, "What commercials did you do?" Not that many that that many people saw except [00:05:00] maybe a Headline News commercial or a Coca-Cola commercial here or there. Specifically, actually, in Texas. I forgot about that. I did a Coca-Cola in Texas commercial. So sometime I'll have to play you that and see if you recognize it.
But I kept getting these very lucky breaks that I guess I was prepared for. I scored a small piece in the film "Dances with Wolves." Which, obviously, was a big movie. And that really [00:05:30] launched a whole other aspect of my career in film and television. And it just snowballed from there and kept going. Again, when I was in my 20s and 30s when my career was really taking off, everybody thought I was related to Jimmy Buffett. So it was an interesting and really perfect thing for me. Because people really didn't attach some projection around great wealth and [00:06:00] privilege and all this stuff.
That's actually what led to the show I do and everything else, is people go, "Wow, you're Warren Buffett's son but you're so normal." And 1,000 ships were launched from there.
Kyle Davis: I don't wanna talk too much about your dad because I really want the focus to be on you but I do appreciate a lot of the things that you see on specials like on CNBC when they show him still driving this Lincoln that I guess he's had for years and just being [00:06:30] a normal guy.
Peter Buffett: Right.
Kyle Davis: So I can see how growing up, and even if you're going to public school and you're living of all places Omaha, Nebraska, how life just seemed normal. But when you look at some of the words that your dad told you to do, like find something that you love to do and just doing it, is that the jumping off point for where you, I guess, invest all of your time, effort [00:07:00] and energy to create wonderful music and scores and whatnot?
Peter Buffett: Yeah, absolutely. It really was ... It's one thing to have somebody say something to you, obviously, especially your parents in terms of find something you love or you should do this or you should do that or don't do that. When I heard that phrase about finding something I loved, I saw somebody doing it. And I think that was the big difference. It's one thing to hear it, it's another to see it every day and really understand [00:07:30] what it meant. Because again, my dad wasn't trying to get rich. He just did something really well that made him rich. So it was a byproduct of what he loved doing. And that's a very different angle on the whole thing. I wasn't with a dad that was constantly striving for the dollar. He just was doing what he does still, to this day, six days a week. Really, seven. Driving himself to the same office he did when I was five.
That [00:08:00] is inspiring. When you see somebody committed to something they love and get rewarded, again, not just in money but really just loving life. You wanna try and do that. You wanna figure out how you can do that. And music was my vehicle.
Kyle Davis: So to fast forward, I have a bunch of friends of mine who have recently graduated school within the last three years and they're trying to make it in the music business. They always say something radically crazy like, "The [00:08:30] music industry is different today and you don't know the struggles." But I'm almost certain that there's a lot of struggles and working really hard and probably doing the transition to San Francisco, a city that you really didn't grow up in. What was it like getting that start before MTV picked you up and before "Dances with Wolves" came along?
Peter Buffett: Well that's where I did have the one major luck of the draw. As my dad would call it, the ovarian lottery. I was born to ... [00:09:00] Actually, my grandfather, when he passed away I was about five and what I learned when I was 19 and in college was that he had left all of us grandchildren a farm. My dad sold it and put it into Berkshire Hathaway. I was 19 and stumbled onto $90,000 worth of Berkshire Hathaway stock. That was it. The other thing I knew, or certainly never expected I would get, is any other [00:09:30] support from my parents. It was very clear, not in a harsh way, but in a way like you've got a massive head start here. You've got $90,000. Most people don't have a dime. Do what you think is right with that money but that's the money you're gonna get.
And that was so clear and, again, expected. I wasn't upset about that. I was grateful, obviously, that I had this possibility. So when I chose to leave college [00:10:00] I asked my parents what they thought and then my dad gave me some advice in terms of how to stretch the money far. And I didn't have fancy tastes. I had a Volkswagen Rabbit and ate a lot of macaroni and cheese and invested in myself. I was able to buy time with that money. I was able to buy a little equipment. In the late 70s you could really, for the first time, buy recording equipment for your apartment, which was really breakthrough [00:10:30] at the time.
So I could eke out rent and food and I learned how to record people on their dime, actually. I put this little ad in the paper and charged whatever it was, $25 an hour for studio time, and just learned as I went until I got my first big break. And obviously, when you're starting anything, the idea of saying yes to everything [00:11:00] is very important. And I said yes to basically everything. And that's I think what really was the key for me, is having that little bit of nest egg and then taking every opportunity.
Kyle Davis: So would you say that-
Gail Davis: Earlier.
Kyle Davis: Sorry, go ahead.
Gail Davis: I was just gonna say that earlier today I was on your website and I loved the quote that you lead with. "Will you choose the path of least resistance or the path of potentially greatest satisfaction."
Peter Buffett: [00:11:30] Right.
Gail Davis: And that's just really ... I thought that was fantastic. And I love where you've ended up in life and I love that that's what you saw in your father was someone who really enjoyed what he did.
Peter Buffett: Right.
Gail Davis: That's just really cool.
Peter Buffett: Thank you. And he worked hard for it. It wasn't just easy. Although he loved what he did, he pushed himself constantly. And I like that too. I like to be challenged. I like to have a client walk in and say, "Okay, by 4 o'clock this afternoon you gotta fill up 30 [00:12:00] seconds." And 30 seconds gets really long when you suddenly have someone staring at you and you have to come up with something. It's not as easy as it may sound.
Kyle Davis: So when you were making I guess jingles or little interludes for MTV, how did you get picked up from doing that into scoring a piece for the film "Dances with Wolves?"
Peter Buffett: Well I started, like you said, with these first MTV [00:12:30] spots. Again, this was a neighbor asking me. I just moved into a new place. He said, "What do you do?" I said, "Well I write music for anything." And he introduced me to his son-in-law who ... And he worked for this animation company doing these really kooky little 10-second animations. So I got paid $1,000 for 10 seconds of music. Which was huge. This was 1981. And I did a bunch of those and that was MTV. And so that then did make me hip by accident. So suddenly all the agencies around town ... [00:13:00] And these are big agencies. J. Walter Thompson, McCann Erickson, agencies like that. They wanted the people that were doing those things. So that got me into this very steady career of instrumentals. Thirty seconds long for a client.
But, the New Age music movement genre was happening at the same time. So I was making instrumental music both for clients and also in my spare time. [00:13:30] I could see that if I could get a record out there of my material, instead of doing the craft of it in the service industry, which is commercials, I could do the art of it in records. And most importantly then, those records, and this is still true today, end up in the hands of film editors and directors, and they use it as temp music for their films. So I wanted to get a record deal very specifically [00:14:00] to get into film.
I was lucky enough to get one. Narada Productions, based in Milwaukee, Wisconsin, of all places, signed me to a record deal and I started to put out New Age albums.
Kyle Davis: Mm-hmm (affirmative).
Peter Buffett: But again, my quest was movies. And I had read a book in probably 1988 or so called "Son of the Morning Star." And it was about Custer [00:14:30] and the Indian Wars of the late 19th century. And this is stuff I had never learned in school and I was absolutely blown away by the history of the country that was really never taught. So my second record was based on the feelings I had, essentially, after reading that book. And it wasn't Native American-sounding or anything. It was truly more cinematic and just, again, the feelings from reading the book.
So that record was finished. [00:15:00] Second record. I'm watching Entertainment Tonight one night and they're doing this little clip about Costner making this movie about Native Americans and just this huge production. I thought, "That's it. That's the movie. I have to get my record to Kevin Costner."
Now again, some people would think now, "Oh, Warren Buffett's son. He can just pick up the phone and know somebody," And all this stuff. That wasn't true, but I did remember [00:15:30] that I had gone to college with a guy who married a woman whose father was Costner's agent's best friend. Did you follow that? That is how my little cassette tape made it to Kevin Costner at lunch one day.
Gail Davis: Wow.
Peter Buffett: He heard it and said, "I want you to score 'Dances with Wolves.'"
Kyle Davis: Mm-hmm (affirmative).
Peter Buffett: And I was completely blown away and completely unprepared. I couldn't go from a 30-second commercial to [00:16:00] a three-hour epic film. I did some demos for him. We went back and forth. But ultimately he said no. This was a $100 million film at that time which was a huge deal. And Kevin, first time directing, and basically they weren't gonna take a risk on some guy that never scored a film. But he called me up a couple months later and said, "You know, there's one scene I'd like you to score." And it was the fire dance scene in "Dances with Wolves" which [00:16:30] is pretty memorable, if you remember when Kevin danced around the fire.
So that was ... I could bite that chunk off and deal with it. About two minutes and I did that and then the film went through the roof and that was a bank shot in my career to a whole other direction.
Kyle Davis: What is it like to score ... Well, to take that 2-3 minute scene, [00:17:00] but more importantly if you stretch it out to an epic film. I know you didn't do the whole score for "Dances with Wolves," but let's say it's another film. What's it like to score a film before ... Because essentially from my understanding, and please correct me if I'm wrong, the music sets the tone. It sets the emotional level-
Peter Buffett: Right.
Kyle Davis: For everything that's ... There's a lot being pinned on you.
Peter Buffett: Well yeah, and of course if a scene doesn't work, then the director just expects the composer to make it work. [00:17:30] And that's another problem. Or if anything doesn't work, whether it's a commercial or anything else. They go, "Well could you make this really emotional because we didn't." But you're right, and it is always last in the chain. Which is interesting, because again you're seeing ... Which is helpful in the one hand, but it also sometimes would be nice if the music could help inspire the actors or whatever it may be [00:18:00] in certain situations.
With my scene in "Dances with Wolves," it was a particular puzzle because Kevin was dancing and I don't know what he was dancing to. But I had to match that and the underlying story element. What was happening in that scene to him. So I had to capture that harmonically but I had to have the rhythm match his dancing. And that was a fun little nut to crack.
Kyle Davis: [00:18:30] I could imagine that being very challenge.
Peter Buffett: Yeah. And of course also fun. That's the fun of it. It's like, "Okay, here's a puzzle I have to figure out." And with any film, it really is ... In fact, Kevin Costner had this great line. He didn't say this to me, he said it to the guy that did the rest of the film, John Barry. At one point he said, "Don't give me what I ask for. Give me what I want." And that is a line for the ages because that [00:19:00] is exactly what being a film composer and probably an editor and everybody else in the chain. But for a composer, that's the story in one line for sure.
Kyle Davis: So I just want to quote this, I just wanna make sure. Don't give me what I want. No, don't give me what I ask for, give me what I want.
Peter Buffett: Yeah. Don't give me what I ask for, give me what I want. That really is brilliant and yeah. But you hate to hear it because that means you've gotta somehow figure it out.
Kyle Davis: [00:19:30] Yeah, my ESP isn't working yet but I'm working on it.
Peter Buffett: Right, exactly.
Gail Davis: Earlier in the introduction we talked about your foundation, the NoVo Foundation. Can you share with listeners a little bit about the purpose and the function of that?
Peter Buffett: Sure. And I'll start with a short history which is that my parents always knew and us kids too, that his money, the money he made, was gonna go [00:20:00] back to society. He feels that the society he was born into allowed him to do what he loved every day of his life. Society should get that back. Which I think is awesome. I think that's an amazing way to look at the money you're making. That it's really a gift to be able to do it.
So, society would get it back. But he assumed that my mother would outlive him and that she would do the work of that because he also knew [00:20:30] the work of philanthropy is very complex. Or certainly can be if you want to try and do a good job. And unfortunately my mother died first. She died in 2004 and that left him feeling I think not only that he would be responsible, obviously, for giving it back, and knowing he didn't want that responsibility because of how hard it was, and also wanting to do it more quickly. Like really getting to the giving part.
[00:21:00] So in 2006 he did what I call the big bang. He gave it all away. And he gave a lot of it to the Bill and Melinda Gates Foundation. And he gave quite a bit of it to myself and my sister and my brother as well. And also to another foundation. So in 2006 we had, my wife Jennifer and I, had worked on a much smaller scale in philanthropy. But this was the big leagues. We had to hire a staff. We had to [00:21:30] really think about how this money was gonna go out in the world. So we sat for a while and thought about what was most important to us. And luckily we completely agree.
It really came down to what the mission statement still is, which is the world is out of balance and we want to help be a catalyst for change from ... I'm not quoting it exactly, but from [00:22:00] a world based on domination and competition to one of collaboration and partnership, and seeing girls and women as the primary agents for that change. So fundamentally at an out-of-balance world in this time in our species' history, and how can we help correct that? And believing that girls and women really hold the key, as does the feminine in general. That gets a little esoteric [00:22:30] because it's not really just about girls and women. It's about the way we look at our place in the world and the people we're in relationship to and how can the foundation help nurture, help create the conditions for honestly, unfortunately, a fundamental shift in our consciousness. Because I think we need it.
Kyle Davis: Mm-hmm (affirmative). And what are y'all working on specifically? What are some projects that you've done or continue [00:23:00] to do through the NoVo Foundation?
Peter Buffett: Well we work in specific areas. So supporting girls and women in a variety of ways, both in agency and opportunity in their own lives. And that gets into all sorts of different subcategories and geographies and people doing great work. But always the overarching key with everything we do is trying to pay close attention to the people actually [00:23:30] that we want to help in some way, that are actually experiencing problems in the society as it exists. Like, how can we hear from them and hear what their solutions are? And hear what they're already doing a lot of times and help support that and nurture that.
So it might be education opportunities or other things for girls either here or around the world. We're also working deeply on stopping violence against [00:24:00] women. That's trafficking, most specifically, but it's also a range of things that I wish we didn't have to do in terms of how girls and women are treated in society. That's a whole sector of work.
Another thing we do is we work with social-emotional learning in schools. We're working I think now in 12 school districts. All different ways, because there's not a one size fits all to any of this work. [00:24:30] But trying to create a school climate that really speaks to the fact that there are children coming in the classroom with a complex set of issues oftentimes. And to look at the child as opposed to teach to a test and just see incomes and outputs. And that involves the bus drivers and the janitors and the superintendents and the principals. It's a very, again, kind of wide ecosystem [00:25:00] approach of how to support kids in an education environment. That's another whole sector.
Another one is what we call local living economies or local living communities really. And how do we create resilient communities through local agriculture, small business, other activities that make a community resilient? And the easy example of that [00:25:30] is the 2008 financial crisis I don't think would have happened if your mortgage holder was also somebody you saw in the grocery store, or somebody your kids went to school with. Their kids ... And that kind of thing. So building a world based on relationships rather than transactions. That's another leg.
And then finally we work with indigenous communities and trying to feed and nurture the people [00:26:00] that were here first in this country or other countries. Because they often have a lot of the knowledge in how we're gonna really ... How we need to look at the Earth and each other in a completely different way, a very holistic way. And so supporting different things in indigenous communities to help nurture those.
That's a big old [00:26:30] mass of information but you got it all right there, pretty much.
Kyle Davis: Well yeah, you said that this was the big leagues.
Peter Buffett: Right.
Kyle Davis: That was a lot of stuff. I think we talked about this prior to going to record, but I think you mentioned that because of your work with Dancing with Wolves that you got involved with native peoples issues and you just hinted at it with the NoVo Foundation. For people who are ... [00:27:00] If you could expand on that I guess. What is the work that you're doing with them and what has been taught to you in the almost 30 years since that movie came out?
Peter Buffett: Yeah. That's a great question because the answer is such a sort of feeling answer. And it's sometimes hard to put into words. This is why, frankly, in my show I also perform. I play music with a cellist. Because [00:27:30] when I talk about some of these things, to be able to play some music, show some images, really allows the audience to feel the things I'm talking about instead of just here are the words and try and digest the information that way. Because really, as I got deeper into the American Indian culture and really got a sense of the world view and the ... [00:28:00] Just the fundamental nature of how you can walk in this world and be a part of it and be in relationship to it in such a way that you are in a regenerative capacity. You're a species on the planet. You're not controlling and dominating and owning and exploiting. It sounds cliché, or whatever, but you are as a person in harmony with your surroundings [00:28:30] and you understand it. That is so deeply, fundamentally different than the way most of us walk in the world. That we try and nurture that.
There's a great line. A native person said, "They tried to bury us. They didn't realize we were steeds."
Kyle Davis: Mm-hmm (affirmative).
Peter Buffett: And there are so many people around this country and around the world that are [00:29:00] bringing back certain ways of life, ways of speaking, ways of being, different schools that are nurturing native youth and others, and just schools of thought in general that aren't native literally but have the approach that native people would. So it's one of these things where you can talk about it, but to be in it and experience it is a whole other level.
Kyle Davis: [00:29:30] Well that's the experience I guess. I think there's something to it and I think because you come from more of a musical background ... There's a lot of people who are very powerful speakers, but if you can add more layers on top of it ... Because music does elicit emotions that speech can't.
Peter Buffett: Yeah. You just can't get there any other way. And of course in native cultures, if I was talking to you, first of all we wouldn't be on the phone. But if I was talking to you 500 years ago [00:30:00] the truth is we'd be singing a lot of things. We'd sing in the day, we'd sing in the food, we'd sing in whatever it might be. A birth of a child, a death of someone. I guarantee you ... I mean, language only started about 5,000 years ago. We were singing and drumming and dancing a lot longer than we were talking like this. So that's in our bones somewhere and that comes through only [00:30:30] in a setting where there's music. And obviously, specifically, music in the room. Where you actually feel the vibration of the air moving and it touches you in a way that nothing else can. Yeah, it's a thrill for me to be able to bring that element into what I do because it changes the room. It really makes for a different experience.
Kyle Davis: I love listening to people who are very musically inclined talk about the whole experiential and environmental kind of way [00:31:00] that music can be received. The vibration-
Peter Buffett: Yeah, isn't there-
Kyle Davis: But there's so much truth to it though.
Peter Buffett: Right, right. There's some famous line about talking about music as like dancing about architecture. Or something-
Kyle Davis: I don't know about that.
Peter Buffett: It's ultimately impossible but you can try. And it is fun to try.
Kyle Davis: Yeah, I had a-
Gail Davis: Well it's-
Kyle Davis: I'm sorry, go ahead.
Gail Davis: Well I was just gonna say it's obvious that you are very passionate about it and that's really cool [00:31:30] that that's where we started. With the influence of your father and how he was such an inspiration to you because he did something that he so enjoyed every day. It looks like you found it, so I think that's really full circle and awesome.
Kyle Davis: Mm-hmm (affirmative).
Peter Buffett: Yeah, it's really such a gift. And I think that's what's, an aspect of it anyway, that's interesting to people is how could you have come from what we see as this framing, which is the business and the money and this and that, and end up over here [00:32:00] with that? But it actually makes perfect sense. You just have to unpack it a little bit and go, "Oh, right. It's all the same in some way."
Kyle Davis: Yeah, unpacking helps.
Peter Buffett: Yes, definitely.
Kyle Davis: A little bit. And I think that's a good place for us to wrap up. But before I do, I do want to mention that you had a book that came out in 2010 called "Life Is What You Make It." And I know that we've talked I think about themes of it. Is there anything [00:32:30] from that that you want to mention before we wrap this up.
Peter Buffett: Well mostly that it was a total surprise. And that's been most of my life. It's like, "Oh my God, I didn't know this was gonna happen." And what did happen is I spoke a couple times. I was asked by an organization that handles wealth management clients and that kind of thing. And they said, "Would you speak? Because you seem like you're pretty normal and you've got a rich dad." And I thought okay, [00:33:00] maybe my story actually has some value here. And I did that a couple times. Then I said if I'm gonna do this I think I'd like to bring music into it. And then a friend asked me to do kind of a more formal performance in New York, and I thought okay I better get my act together here. I got some old pictures from childhood and some commercials and different things to help round out the story. I did that, and a person in the audience I barely knew ... I just invited her on a lark to come to the show. [00:33:30] She said, "You know, that's a book."
And she introduced me to an agent and the book came out. So my show actually inspired the book, so now when I do it, it's right in lockstep with the book's message and a lot of the stories in there. It's just been fun for me to have it be a complete surprise. It did frighteningly well in China, which is kind of interesting. So we went to China a lot [00:34:00] and that's where you really do learn that music is this universal language and the subject of the book and that sort of thing. Yeah, mostly the story to that is again, taking these opportunities. Inviting somebody to come and see something. You never know where it'll lead.
Kyle Davis: Well everybody, you should just take an opportunity and then figure out the next step from there.
Peter Buffett: Exactly.
Kyle Davis: Yep. In the words of Peter Buffett.
Peter Buffett: Right.
Kyle Davis: [00:34:30] Not Jimmy.
Peter Buffett: But don't call me if it doesn't work out.
Kyle Davis: Yeah yeah. But not Jimmy Buffett's son.
Peter Buffett: Right.
Kyle Davis: Cool. So with that being said, if you would like to have Peter Buffett come and entertain you and your friends, family, co-workers, et cetera, you can do so by contacting GDA Speakers at 214-420-1999 or by going to GDASpeakers.com. For the audio and today's transcripts as well as the book and everything else, you can go to GDA Podcast [00:35:00] where we'll be hosting all of that. That being said, thank you Peter.
Peter Buffett: Thank you. It was a lot of fun.
Gail Davis: Thank you Peter.
Peter Buffett: Thank you.