Welcome to the home of all things Paul Lesinski Music!

"Across the Light" reviews are emerging!

“ Pure Magic! ...a really nice album and a worthy addition to your collection!”  (8/10 rating)     – DRPR 

"A marvelous album from a gifted musician...highly recommended!"  – Power Play Magazine

"There are no songs here that fail, and there are quite a few that stand really tall... This is quite an intriguing ride." - Music Street Journal

Prog Radio rates Paul's New Album “Across the Light” 4/5 Stars!

New (Old?) Album Begun in 1988 Dropped Today! 

It’s not an understatement to say that music saved my life in high school. I went from being a lost, overwhelmed, socially inept freshman to a relatively confident, happy graduate with lifelong friends and a vision for what I wanted to do with the rest of my life and who I wanted to do it with. Namely, I wanted to “make it” in music and the high school level success I and my friends Tom Gutierrez (bass, vocals) and Kevin Brown (drums) in our band Osiris (remember: high school) had experienced was enough of a taste of the possibilities. Note that Van Halen started in high school playing the same kind of teenaged parties we played. The Beatles knew each other in their early teens. Were we Van Halen or The Beatles? No. But if others could chase their musical dreams with their childhood friends, why couldn’t I?

Well, one main reason was that the others had to be willing to also chase that dream. Tom and Kevin were my “chosen two” but for some reason they had some kind of affinity for financial security, permanent addresses and steady sustenance. So I had to find other guys to eat corn chip sandwiches in the back of the van with, and that was my 90s band The Strangers, after I graduated college in 1990. 

Still, I could not set aside the magic that happened when me, Tom and Kevin played so we got together as much as we could while pursuing our respective college degrees. We would jam during Christmas and Spring breaks when our calendars aligned, to crank out old Osiris tunes, our favorite hard and prog rock covers, and yes, even to write music. 

In fact in 1988 and 1989 we wrote a five-song mini-opera called The Dream of Kings. I hear all of our musical influences in this thing: Rush, Yes, Pink Floyd, Led Zeppelin, but with our own unique spin given we’d played together almost four years by this time. Conceptually, the suite was post-apocalypse. World War Three has come down like a hammer - remember the 80s was peak “cold war” between the U.S. and Soviets with both sides having nukes armed and ready. Well, WW3 comes down, predictably (to us) with minimal survivors who still believe they were right, when something happens (I am not giving it away - listen to the music) that draws everyone back together. Or does it? You can come to your own conclusions.

We called the band “Dark’s Ensemble.” Like a Sgt Pepper who was into the occult. 

Due to college commitments, playing live was not really a thing for Dark’s Ensemble (although we did at least one gig, at the Village Pub at Santa Clara University). But then something happened that in retrospect was incredibly special and leads us to why I am even writing this today, in 2026. 

Tom had a pal named Brett who was in the music program at San Jose State. Brett had access to a 16-track recording studio on campus and a need for a musical project to record for his major. Tom volunteered Dark’s Ensemble and dates and details were arranged. Now, did Tom inform Brett that we’d be arriving with the intention of recording a 25-minute 5-song rock opera? No. No, he did not. With Brett probably thinking “three-song-demo,” we rolled in with a five-song album-side length rock opera. Poor kid.

Needless to say, trying to crack out a 25 minute rock opera - including getting a decent mix - was challenging in the short period of time that we had at San Jose State. We walked out with a very rough mix on a cassette and of course the 16 track reel to reel tape which sat in Tom’s parents’ garage in San Jose for literally decades until I asked him “Hey, whatever happened to that tape?” He found it and mailed it to me in 2005 and I had the tracks converted to digital which required a company to bake the tape in an oven in order to adhere the outer surface to the tape then enabling the same company to play the tape once or twice to get the tracks off digitally. 

I was very excited at the prospect of giving The Dream of Kings a proper mix, but sadly in the mid 2000’s I found most of it unusable due to a persistent “warble” across the recording with the exception of the bass and drums. I also was not in any way shape or form technologically or professionally savvy enough to know how to fix any of this. So, the digital tracks sat in their digital purgatory on various hard drives for the next 20 years. I would open them every few years with the intention of doing something with them and quickly close the files thinking a variation of, “Aw man I can’t use these,” and “I don’t have time to figure this out.”

Fast forward to early 2025. I had recorded and released four CDs in the previous ten years, recorded in home studios with friends using a digital audio workstation (DAW) called Digital Performer. Throughout, I was getting better at working with digital files, although skills like adjusting audio frequencies (bass, midrange, treble) with precision to separate instruments in a mix and compensate for possible subpar recordings was still ever so slightly out of reach. 

However on a long drive I started to listen to YouTubes posted by a guy named Rick Beato, who came to fame in audio and musical circles for doing tutorials on just the skill gaps I needed filled. I thought to myself, you know what would be a great experiment to see if I could apply some of this new information? Those Dream of Kings tracks.

Opening the tracks back up and doing some very paint by the numbers audio tweaking, things started sounding better! Especially the drums. The aforementioned warble of some of the instruments remained unfixable - at least to my weak skill set - but with a solid foundation of drums and Tom’s bass, which also sounded very usable, I became inspired to keep going.  

It was a 35-year-old project just waiting to happen.

I called Tom and enthusiastically informed him I thought I might be able to resurrect The Dream of Kings but we’d need to re-do some of the original parts due the “warble.” This included re-doing all of the vocals, which to be fair were not great, as Tom and I sing better today than we sang in 1989. Sorry, not sorry. 

However, we agreed then and there to NOT succumb to the temptation of re-writing any of The Dream of Kings, especially lyrically. We wanted to deliver this thing as if we’d mixed it properly in 1989. We stuck to this ethos about 90 percent of the time but did add a couple of musical parts and re-wrote a line or two, either to eliminate what would be an ‘eternal cringe’ or chase a musical idea that might have been too good to set aside.

The end result is: all of the original drums and bass, with many but not all of the other instruments either doubled or replaced. This was particularly challenging in one section as the tape misbehaved to the degree that an entire song pulls every so slightly out of tune, to the point that when laying down guitars in 2025 I had to tune to the tape (not a guitar tuner) in some cases only recording about 30 seconds until having to tune every so slightly again to match the warbling tape. It worked but it was a PITA.

I used as much original recording as I could. The “jazz trio” drums/bass/keyboard solo section in Capitol Hill is exactly as recorded, as try as I might, I could not get a 2025 guitar to align with the intonation. Probably better that way. 

Vocally, Tom brought in some amazing ideas for how to re-do some of the narrated sections, including delivering a very “Morgan Freeman” style voiceover backed by what he called the “hobo choir” in the background. For me, when singing these songs in 2025, lyrics like “No, wake me up, I can’t believe, it’s a dream” remain sadly poignant if not more so 35 years after the ‘end’ of the cold war.

Sharing early mixes with Kevin and Tom was so much fun as they were as excited as I was to hear this thing start to sound really good. We enthusiastically continued to chip away until it was in our minds, ready for you.

I am so grateful to have been able to bring this to life. This is PEAK Kevin Brown on drums and the world needs to hear it. This is PEAK Tom/Paul collaboration and I am proud to share it. And, unfortunately anyone who doesn’t know the 35-year back story just might think this was written with today’s happenings in mind. It wasn’t, but I am glad to get it out while it might resonate.

The Dream of Kings is available on Spotify, Apple Music, or wherever you stream music. Headphones recommended.

 

Final Strangers Drops to Streaming - Three Demos and Van Ness Sessions Vol. 2 

Last week the last scheduled Strangers archives dropped to streaming services worldwide. It was a doozy, with four releases:
 
1. The Van Ness Sessions Vol. 2 - Here is another batch of songs from the home recordings laid down in the spring of 1992 at The Strangers’ “Pink Palace” on Van Ness and Chestnut in San Francisco. Volume 2 contains more hidden gems never released and only played live for a short period, including Allen tunes “Miami,” “Fox Hollow Road” and another take of “Hats Off to Arthur Dent,” Henry’s “Indian Summer Love,” Bart’s “Needle In A Haystack,” and Paul tracks “38 by ’74” and “Back As I Leave.” Paul/Ned co-write “Like A Mountain” makes its brief debut here too. The recordings capture a couple of covers including a fiery take on Neil Young’s “Powderfinger” and The Band’s “Down South In New Orleans” featuring Paul’s recorded debut on drums! Clearly we were having a good time. Check it here.
 
2. “Seeds” 4-Song Demo (1991) - The earliest studio document of the five-piece Strangers. In May 1991, the newly-formed Strangers electric lineup recorded four originals at Berkeley’s Dance Home Sound run by our friend Lisa Richmond. This session, just after Henry Smith joined on bass, was a turning point and the songs “Slow and Easy,” “Columbus in the New World,” “Take It On The Run,” and “Pass It On” were live staples. These four tracks laid the groundwork for what would become The Joker and the Wheel album. It’s a rare snapshot of the band still in first gear, but already rolling fast - listen here.
 
3. “Fish Pitched Up by an Angry Sea” 4-Song Demo (1992) - Recorded in Eugene, Oregon just before the band’s first full tour across the Rockies. This four-song demo, featuring my song “The Opening Page,” Bart/Henry/Paul’s “Vampire’s Kiss,” Allen’s “Reach Out,” and Ned’s “Misunderstanding,” was recorded at Don Ross Studios, the same studio where Dreams of the Land was born years earlier. At the time, The Strangers were grinding 20+ shows a month and this demo was our calling card for radio, labels, and booking. It's a mix of bite, beauty, and band chemistry at a new level. This recording of “Misunderstanding” appeared on the “Life On The Road” album. The other three recordings sat in the vault, until now - listen here.
 
4. Michael Wilson Three-Song EP (1995) - Recorded at the height of the band’s hard-touring final era. In early 1995, just before lineup changes began, The Strangers laid down three high-intensity tracks “Shotgun Valentine,” “All Your Enemies,” and “Kitchen” with producer Michael Wilson at Apocalypse Studios in Eugene. These songs were sharper, louder, and more direct, reflecting the band’s push into harder-edged territory while still carrying the hallmarks of tight harmonies and layered storytelling. Tracked live with minimal overdubs, this short EP became the foundation of what was pitched to labels during the band’s final label pursuit. Reworked versions of “Shotgun Valentine” and “Kitchen” were recorded with the final electric lineup for Mobilehomecomingqueen, while “All Your Enemies” remained unreleased. Check it here.
 
Links:
 
 
 
 
 

Three More Strangers Drops 

We’ve flipped the switch on three more streaming releases from the Strangers vault:
 
1. Mobilehomecomingqueen album – released in October 1995: This was The Strangers’ final studio album. I had left the band by this point but I have a couple of co-writes with singer Bart Ferguson, namely Sugar Spike and Revelation Tears. Mobilehomecomingqueen was recorded in Vancouver BC in late 1995 and featured the band’s last full-time lineup of Bart Ferguson, Allen Bush, Ned Failing, Rob Post (bass) and Julian Webster (lead guitar), with production duties shared with Don Gilmore (later known for work with Linkin Park, Avril Lavigne and Good Charlotte). The album showcases the band at peak musicianship, layered, groove-driven, and emotionally sharp, delivering 14 of the best latter-era originals including Truth and Lies, Kerosene Dream, Stuck Again, Shotgun Valentine, Continental Breakdown and Honest Child. The album title was dreamed up during one the band’s multi hundred mile drives between gigs. Mobilehomecomingqueen would become the band’s swan song, landing a few months before their farewell shows in 1996. Listen here and anywhere else you stream music.
 
2. Live at the Great American Music Hall – March 17, 1993: This St. Patrick’s Day show at San Francisco’s Great American Music Hall was a turning point for The Strangers. Performed in front of a packed house, it was professionally recorded on 16-track tape by Lisa Richmond and has since been regarded as one of the best snapshots of the band’s early five-piece era. While much of this show wound up on the Life on the Road album, this live scoop showcases the other songs played from that era that could have been on Life on the Road but were set aside at the time. This includes the Henry Smith classics Katie Mae and Cascadilla Bridge, Allen Bush treasures Shut Out the Moon and Winds of Change and an 18-minute rendition of Mystery of Mysteries that encompasses Pass It On from the Dreams of the Land album. This gig was also on drummer Ned Failing's birthday, natch! Listen here and anywhere else you stream music.
 
3. Live at the Great American Music Hall – January 5, 1995: And finally, at this show at the Great American Music Hall nearly two years after the Life on the Road live recording, The Strangers kicked off 1995 with a career-highlight performance alongside Calobo and Sweet Virginia, drawing another full house and finally earning a coveted write-up in the San Francisco Chronicle “Pink Section” that said, “The Strangers are probably one of the hardest working bands on the scene, calling themselves a ‘well oiled traveling machine that performs 250 to 300 dates a year.’ The San Francisco based band has made three albums, including its most recent, the aptly named ‘Life on the Road.’ The Strangers play what they call ‘harmonic rhythm and groove,’ a label broad enough to take in both the band's sweet acoustic/vocal harmony side as well as its danceable country-folk-rock side. All sides of this five piece group are worth checking out.” The show featured a tight, high-energy set that blended old favorites like Josephine and White Knucklin’ with newer, edgier material like Shithead, Mercy, and All Your Enemies. Listen here and anywhere else you stream music. 
 
 
 
 
 
 

More Streaming Strangers - The Joker and The Wheel, and Live at W.O.W. Hall October 1, 1994 

Two more Strangers releases have hit all streaming services:
 
First up is the band’s 1991 release “The Joker and the Wheel.” This recording marked a major step forward for The Strangers, capturing the moment the five-piece electric band committed to full-time touring life, while needing a calling card and recorded representation of the band at that moment. Recorded during July and August of 1991 at Mobius Music in San Francisco with producer Oliver DiCicco, the album was both a sonic milestone and a declaration of intent from a young, hungry band ready to hit the road hard.
 
With this record, The Strangers brought together its acoustic roots, new roster of originals, and electric energy to create a layered, harmony-driven album rooted in folk, rock, jam, and groove. Pre-production began in June 1991, as the band’s booking agent RBA started pushing us into new territory beyond San Francisco and the tried and true Dublin Pub and Taylor’s. By July 6, we had just come off a four-show run, including the High Sierra Music Festival, and jumped straight into the studio. Recording sessions spanned all of July and early August, with mixing wrapping just before hitting the road again.
 
The physical CD arrived on December 24, 1991, just in time to be unwrapped under some lucky fans’ trees. To save on costs and get the album by Christmas, the CDs were shipped as separate components: discs, art inserts, and jewel cases. That meant every copy was assembled by hand, and in a 70’s-inspired “LP shwag” moment, the band added a secret ‘easter egg’ to this first run of CDs: a green triangular sticker featuring the joker character from the album artwork was tucked under the disc tray of the jewel case. Fans who looked closely through the spindle hole would catch a glimpse of it, and if they gently popped the tray out, they’d find a collectible sticker.
 
I had three songs on the album: Brighter Days, October Wind and Life in the City, the latter of which became a live mainstay for the band and found its way slightly reworked on my Hearts and Reason album a few years back. Stream “The Joker and the Wheel” here, and anywhere else you find online music:
 
Also available today is “From the Vault: Live at the W.O.W. Hall 10/1/1994.” Here, The Strangers shared the stage with musical powerhouse and mentor Jerry Joseph. It was one of those electric evenings where everything clicked: big crowd, dialed-in performances, and a sense of community between bands chasing the same dream, albeit with Jerry and company FAR ahead of us. For The Strangers, it was a creative and commercial high point in Eugene, and another evolutionary moment with the band ripping through latter era material like Kitchen, Garden of Eden, Honest Child and Nearly Missed alongside live standards like Josephine, Call Me Crazy and Getting Out. This might be my favorite era of the band… dig it here and where you dig your online tunage:
 
 
 
 
 

08/09/2025

More Streaming Strangers - Life On The Road and Live at Slim’s April 23, 1994 

Two more drops from The Strangers recently hit streaming services worldwide! 

Life on the Road (1994) – The Strangers’ third album, released in January 1994. This album was a culmination of over two years of relentless touring, songwriting, and recording. Captured live at our March 17, 1993 show (drummer Ned’s birthday!) at San Francisco’s Great American Music Hall and supplemented with select studio tracks recorded between April 1992 and July 1993, the album presents an authentic snapshot of the band’s onstage energy and evolving sound. With its mix of groove-heavy, harmony-rich songs and expansive jams, Life on the Road quickly became a fan favorite and helped solidify The Strangers’ place in the vibrant 1990s West Coast scene. The live tracks were produced by our friend Lisa Richmond at Dance Home Sound. Stream it here.

Live at Slim’s – April 23, 1994 – The Strangers’ April 23, 1994 show at Slim’s in San Francisco stands out as an iconic hometown performance, thankfully now immortalized on the live album From the Vault: Live at Slim's. This show drew more than 400 fans, a significant local milestone that reinforced Slim’s as one of the band’s cornerstone venues alongside Great American Music Hall and The Paradise Lounge. This particular performance captured the band at a moment of creative fire and tight cohesion. The newly released Life on the Road was gaining traction, and we were beginning to mix tried-and-true favorites with harder-edged, more ambitious material reflecting our evolving sound. Canadian brethren The Harvesters shared the bill and various members guested in our set, notably vocalist Apple in an incendiary rendition of Josephine. Listen here.

Life on the Road

From the Vault: Live at Slim’s – April 23, 1994

 

More Streaming Strangers - The Van Ness Sessions Vol. 1 and Live from the Fox 1993 

Announcing two more drops from The Strangers archives! 

First up: The Van Ness Sessions Vol. 1. Recorded in spring 1992, this collection captures a fleeting moment between the wide-eyed innocence of our first full band CD The Joker and The Wheel and the road-tested grit of the follow-up Life On The Road. Think of The Van Ness Sessions as the missing link: an album that never quite was, but always should’ve been.

As was often the case with five songwriters in constant motion, we had more songs than we could ever record. By early ’92, we knew we were pulling away from our folky roots and leaning into a tighter, punchier, more rocking sound. With a stack of new material we loved, and another stack about to get shelved forever, we decided to preserve what we could. Fast. Cheap. At “home” in the entryway of our gloriously dilapidated pink Victorian rental on the corner of Van Ness & Chestnut in San Francisco.

The result? Four days. One house. A mess of new songs, spontaneous covers, borrowed gear, and a whole lot of laughter. The Van Ness Sessions Vol. 1 is raw, intimate, and totally unfiltered. Some tracks said their goodbyes here; others were just getting born. Volume 2 drops later this summer, so watch this space.

Also: Live at the Fox Theater (January 1993). This bootleg brings together two unforgettable nights in Boulder, Colorado: one opening for Little Women, the other a free show designed to grow our following in the region. This live set delivers high energy, tight playing, and a setlist that straddles our acoustic past and electric ambitions. Drew Emmitt from Leftover Salmon joins us on mandolin for “Josephine,” “Slow and Easy,” and “Bluestown.” And a personal fave: there’s a 20-minute version of “Mystery of Mysteries” that finally sees daylight.

Both albums are now streaming on Spotify, Apple Music, and most other platforms. Listen here and everywhere you stream music!

The Van Ness Sessions Vol. 1

From the Vault: Live at the Fox Theater 1993

 

 

The Strangers are Streaming! 

Right out of college I chased my dream of making it big as a lifelong musician and for five years I shared that dream with my brothers in The Strangers, playing almost 1,000 shows in 17 states plus Canada from 1990-95. The band put out five albums (three of which I was on) and captured more than 100 of our live shows on tape. These five albums and a curated selection of live gigs and other recordings will make their way to streaming services this summer, starting with these two, now:

The Strangers’ first album “Dreams of the Land” was where it all began, when U of O students Allen Bush, Bart Ferguson and Chris McDowell parlayed their success as a student trio playing the bars, frats and parties of University of Oregon (and of course the Dublin Pub) into a session at Don Ross Productions to record a tape of all original material. 

Released in June 1989, Dreams of the Land unveiled nine acoustic folk-based original compositions featuring lush two-part vocal harmonies, gorgeous acoustic strumming and socially conscious subject matter. Many of these songs like Call Me Crazy, Headlines Bleeding, Pass it On, Letter to Marie and The Poisoning would be live staples for many years even once I joined the band and we went full electric 5-piece. Now on streaming services for the first time, enjoy Dreams of the Land here (and anywhere else you stream music). 

Also available today is a 13-song bootleg of the electric band at Hood River’s River City Saloon, from April 1994. At this point the electric band of me, Allen, Bart, Ned Failing and Henry Smith had played 614 shows since Henry’s debut as permanent bassist on March 14, 1991. 

At this first of two nights at the River City, The Strangers heard here were probably as far away from a folky acoustic trio as we would ever get, with Allen songs like Set You Up and Sweet Lorraine juxtaposed with Bart/Allen staples (at the time) Don’t Get Comfortable, Symptoms and Kitchen in prime form, with Henry’s Mad Dog and my tunes Walkin’ and Reason also appearing on this gig. Bask in the magic here (and anywhere you stream music). 

These are the first in a series of the band’s entire catalog plus curated live bootlegs, demos and home recordings coming to streaming over the summer. Watch this space for more releases and in the meantime enjoy the music and the memories!

Dreams of the Land

Live at River City Saloon - April 14, 1994

 

Floydian Slips Summer Show Post-Mort 

Wanted to post a few thoughts before last Saturday’s Floydian Slips end of summer show at the Cuthbert in Eugene recedes into the rear-view mirror. This show wraps up our 27th year as a band and as I look at the photos coming in, comparing them with a few from the first show in 1997, I take pause at the idea I’ve been doing this Floyd band for half of my life. But set that aside for a moment.

I know I always say this too, but it may have been our best outing yet. We decided to attempt two full albums – The Dark Side of the Moon, and Wish You Were Here. We also played some epics – opening the show with Echoes, and closing set one with Sheep. 

I felt that the band had a very relaxed pace – we took our time and let the music breathe (no pun intended). Not sure if that was due to our age, the amount of rehearsal we did, the inner ear monitors providing far better monitor sound than wedges onstage, the size of the audience (about 3,500) the chill weather vibe of the last day of summer, or all of the above. But we took our time and the show went off with few hitches.

Oh and the quad sound? Yeah we had racks of speakers far left and right, behind the grassy area. Depending on where you were seated, it was a super cool surround sound experience, or perhaps not. But I am really glad we tried it, because why not? 

We are already talking about 2025 and 2026, which is great. For now I am enjoying seeing folks’ videos and photos come in on the socials…Zen, baby, zen…

Photo by Dean Yarnell

Photo by Dean Yarnell

Photo by David Putzier

2003! Argh!!

The Reviews of Across the Light Are Coming In! 

Excited to share that a couple of reviews of the new album have posted, namely in DPRP, one of the oldest web-based reviewers of progressive rock music, and in Power Play, a global industry magazine. The album has also been receiving heavy rotation with Prog Radio, The #1 Radio Station for Progressive Rock, alongside some of my back catalog. I really wanted to get the album in front of many people as possible and this goes such a long way. See highlights and links below!

DPRP: Paul Lesinski Across the Light (8/10)

[The title track “Across the Light”] is one insanely great song and helps to reinforce Paul's message right throughout the whole album wherein he discusses self-reflection, societal challenges, personal struggles and the desire for change. This is backstopped by yet another brilliant track called October Wind which has become my favourite from the album. Pure magic!

…The songs all flow seamlessly together and are delivered in tasty, bite sized chunks that will have you singing along in no time. From the lilting piano that opens the first song to the blistering lead breaks in Show Me and the thundering riffage from Across The Light, you can appreciate why Paul is so proud of his latest work.

PowerPlay Magazine

[Regarding the song be Better Be Bold], the songwriting is beautiful and the whole song has a lot of atmospheric energy. Paul’s vocals’ are calming and whilst thing song is acoustic-based there are melodic prog elements throughout the song and it’s one of those songs you can get lost in.

Video from Strum Guitars Album Release Celebration 

The “Across the Light” album release celebration took place on Sunday May 19. The next day I flew to New York for work and things got away from me a bit. But now with a little time, I wanted to share some video from the event taken by a friend.

Backing up a step, we took a different approach for launching this album. Instead of a big loud power trio album release gig at a club, we booked a stripped down seated show at a high end guitar shop with a bar attached, called Strum Guitars in Portland. It was more intimate and celebratory and we could tell stories between the songs and people could sit, enjoy, and be part of the celebration with us. It went over better than I could have imagined and I remain thankful to those that attended and paid attention to the music and back and forth. Also major props to my pal Christian Troche who joined on guitar for four songs to help round out the sound.

While I didn't get great video of any of the new songs, there were a couple of live debuts of original material on account of the more intimate setting. We'll be booking more things this year and there may be some other surprises coming, stay tuned.

What You Hold Near, from the last album of the same name:

Shouldn't It Be Different, from the debut album. We've only played this one other time live, back in 2010.

Numbers Radio, from Hearts and Reason - we had never played this live before this gig.

…and finally, Forgotten Be Found from the last album (What You Hold Near), sadly still relevant for the 2024 election cycle…

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