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Archive for the ‘Authors’ Category

Jonathan Dyck & Christine Kampen Robinson–“Mennonites Talking About Miriam Toews” (The Walrus, July/August 2019)

Posted in Adrian Tomine, Bolivia, Canadian Content, Canadian Music, Chris Ware, Christine Kampen Robinson, Jonathan Dyck, Mennonites, Miriam Toews, Radco, Religion, Sexism, Sexual Assault, The Poubelles, The Walrus on July 21, 2019| Leave a Comment »

SOUNDTRACK: RADCO-“Didn’t You Know” (2017).

Since this essay is about Mennonites, I decided to see if I could find any Mennonite rock bands.  Well, Radco was a “punk” rock band from Vancouver, BC.

Drummer Amber Banman described their music as

A heart crushing, unstoppable, rock and roll machine. Ha-ha .We like to say we’re too polite for punk rock as we all generally mind our P’s and Q’s. But oh boy, can we rock!

They have a few songs on bandcamp.

This song does rock (although there is a xylophone melody at the end).  It’s catchy with solid guitars.

The lyrics are indeed a polite diss track:

Pay attention
Before you miss
All of these things
That you could have kissed
Didn’t you know I wanted to go
But you left me standing by my front door

As of 2018 Radco were no more, although three of them went on to form The Poubelles (Amber sings lead in this band).

[READ: July 1, 2019] “Mennonites Talking About Miriam Toews”

The July/August issue of The Walrus is the Summer Reading issue. This year’s issue had two short stories, a memoir, three poems and a fifteen year reflection about a novel as special features.

I really enjoyed Miriam Toews’ All My Puny Sorrows.  I haven’t read her book A Complicated Kindness, but I gather that it (like Sorrows) shines a light on Mennonite culture.

The introduction to this piece says that Kindness introduced the world to the Mennonites of Manitoba’s Bible belt.  Her 2018 novel Women Talking is a fictionalized account of women living in the aftermath of sexual assault in an ultraconservative Mennonite colony in Bolivia (that book sounds painful to read).

This piece is a collection of cartoon panels each one a person expressing a real sentiment about Toews (although the panels are fictionalized). (more…)

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R.P. Larose–“Poem #8–Beetle” (The Walrus, July/August 2019)

Posted in Bears, Beavers, Canadian Content, Canadian Music, La vie d'Adèle, Lazy Grace, Nature, Poetry, Poets, R.P. Larose, The Walrus, Wolves on July 20, 2019| Leave a Comment »

SOUNDTRACK: LAZY GRACE-“You Don’t Know How Much” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

Here’s another traditional song performed very slowly.  This feels like a blues song only played with a more country style with violin as the lead instrument.  The two women singing have good harmonies, but it feels so downcast that I don’t want to listen to it again.

[READ: July 1, 2019] “Poem #8–Beetle”

The July/August issue of The Walrus is the Summer Reading issue. This year’s issue had two short stories, a memoir, three poems and a fifteen year reflection about a novel as special features.

I assume this poem is part of a series, although I don’t know for certain

This is a poem about nature.

It is set at a lake in the woods of the eastern slope of the Rockies. (more…)

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Teva Harrison–“Falling, without You” (The Walrus, July/August 2019)

Posted in Canadian Content, Canadian Music, Poetry, Poets, Polka Dogs, Rheostatics, Romance, Teva Harrison, The Walrus on July 19, 2019| Leave a Comment »

SOUNDTRACK: POLKA DOGS-“Slag Heap Love” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

Polka Dogs sounded promising–I imagined a rocking polkafied band.  “Slag Heap Love” sounded like it would be a gritty rocking song.

So imagine my disappointment when the song is propelled by a tinny banjo and the accordions are only used as accompaniment, not for wild soloing.  Even the tuba is slow and ponderous and not used as a fun bass instrument.  Top this off with the vocals which are almost comically crooned and this song proved to not be anything I wanted at all.

About half way through (the song is five minutes long) the song goes to double time, which makes it more interesting. But the vocal style remains the same and nobody does anything more interesting than playing the same stuff in double time.

It doesn’t even really sound like a polka until the last forty seconds when the song picks up into triple time, but by then the song is pretty much over (especially since the lyrics don’t really change for the whole five minuets.  “Slag Heap Love” is pretty unexciting.

[READ: July 1, 2019] “Falling, without You”

The July/August issue of The Walrus is the Summer Reading issue. This year’s issue had two short stories, a memoir, three poems and a fifteen year reflection about a novel as special features.

This is simple poem of loss–of a person falling apart.

I rather liked how visceral this poem was, with each stanza being more explicit as she fears she might fly apart. (more…)

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Benjamin Hertwig–“The Space Between Trees” (The Walrus, July/August 2019)

Posted in Benjamin Hertwig, Canadian Content, Canadian Music, Death, Mennonites, Military, Poets, Pretty Green, Rheostatics, The Walrus, Tree planting, Trees, Violence, War, Work on July 18, 2019| Leave a Comment »

SOUNDTRACK: PRETTY GREEN-“I’ll Follow the Rain” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

This song was written and performed almost entirely by Ed Blocki, who I guess is Pretty Green (he has other people play violin and cello).

Blocki is (and maybe was) a producer.  This song sounds so much like a ton like a 1970s folk recording, which must be intentional.

It’s really slow and mellow.  I have to assume it was written as a reaction song to The Beatles’ “I’ll Follow the Sun,” there’s just too much similarity.

[READ: July 1, 2019] “The Space Between Trees”

The July/August issue of The Walrus is the Summer Reading issue. This year’s issue had two short stories, a memoir, three poems and a fifteen year reflection about a novel as special features.

I really enjoyed this short story–the way it juxtaposed two very different jobs.  But the ending was really abrupt and unsatisfying.  There was so much going on that I hope it is an excerpt from a novel because as short story it falls flat.

Benjamin Hertwig is a poet.  This might explain why the language of the story is so good, and maybe also while it feel so elliptical.

This is also yet another story about people (specifically a young woman) planting trees in Canada for a summer job.  I have read at least four stories about this profession and it makes it seem like this is a very common thing that most young Canadian try (and quickly give up because it sucks) at least once in their life. (more…)

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Ken Babstock–“Clotho, Lachesis, Atropos” (The Walrus, July/August 2019)

Posted in Canadian Content, Canadian Music, Celtic Gales, Franz Kafka, Ken Babstock, Max Liebermann, Photography, Poetry, Poetry, Poets, Rheostatics, The Walrus, Walter Benjamin on July 17, 2019| Leave a Comment »

SOUNDTRACK: CELTIC GALES-“Sittin’ on Top of the World” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

Celtic Gales was, apparently, a trio of Audrey, Linda and Wanda Vanderstoop.  I can’t find anything else about them.

This is a traditional song with some nice guitar work from Scott Rogers.  I rather enjoyed the introductory guitar playing and rather hoped it would be an instrumental.  Their vocals (even if the three part harmonies are lovely) are a little too country for my liking.  There’s the addition of a kona as an instrument on this song but I can’t tell what it is doing

[READ: July 1, 2019] “Clotho, Lachesis, Atropos”

The July/August issue of The Walrus is the Summer Reading issue. This year’s issue had two short stories, a memoir, three poems and a fifteen year reflection about a novel as special features.

This poem addresses several images. The first is Max Liebermann’s “The Flax Barn at Laren.”

He described it very powerfully.

He then mentions a photo of Walter Benjamin: (more…)

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Randy Boyagoda–“Super Dads” (The Walrus, July/August 2019)

Posted in Canadian Content, Canadian Music, Dante Alighieri, Disneyland, Drugs, Excerpt, Grievous Angels, Randy Boyagoda, Rheostatics, The Walrus, Virgil, Walt Disney World on July 15, 2019| Leave a Comment »

SOUNDTRACK: GRIEVOUS ANGELS-“Saturday Night in a Laundromat” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something you didn’t know, but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

Grevious Angles sound an awful lot like Cowboy Junkies–slow, downbeat folk/country that tells a story.  The story of being in a laundromat on a Saturday night is kind of interesting.

The band is still playing (after taking a brief hiatus in 2004 for singer songwriter Charlie Angus to enter politics for four years.

In this song, Michelle Rumball has a deep, sultry voice.  She left the band after this album, so I’m not sure what they sound like now.

[READ: July 1, 2019] “Super Dads”

The July/August issue of The Walrus is the Summer Reading issue.  This year’s issue had two short stories, a memoir, three poems and a fifteen year reflection about a novel as special features.

Another except from this novel was published in The 2019 Short Story Advent Calendar.

In this excerpt, three men, Frank, Nick and Prin are heading to Dizzy’s World, a theme park that has seen much, much better days.

Nick and Frank are from Terre Haute and used to go to Dizzy’s World all the time as kids.  They both have fond memories.  Prin is not from the area and has never heard of the place.

All three had been hired by an evangelical millionaire to help build a theme park inspired by Dante’s Divine Comedy.  Prin was a University professor. He understood footnotes and he knew that most people hated even the idea of them.  He was hired to talk footnotes to footnote haters. (more…)

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Alice Munro–“The Bear Came Over the Mountain” (December 27, 1999 & January 3, 2000)

Posted in Alice Munro, Canadian Content, Canadian Music, Humiliation, Marriage Trouble, Michie Mee, New Yorker, Short Story on July 14, 2019| Leave a Comment »

SOUNDTRACK: MICHIE MEE & TONYA P.-“Made It” (2018).

I read that Michie Mee is the most famous, pioneering rapper in Canada.  And yet, if you look at her discography she has only released two albums in thirty years (!)

Her first one came out in 1991.  Her second in 2000.  But she is still active and seems to release an occasional single and collaboration.  She has also been in a lot of TV and films.

This single is kind of odd because they sing about having made it, but it’s been over twenty-five years since she made it.  It’s a simple, nice, catchy song, quite different than some of her more explicit harsher singles.

The more I learn about Michie Mee, the more fascinated I am by her and wonder what she has been up to.

[READ: April 2019] “The Bear Came Over the Mountain”

I first read this story in the October 21, 2013 issue of the New Yorker (when they republished it).

This is a straightforward but fairly complex story, with a lot of emotional heft.  A married couple, Grant and Fiona, have been together for a long time.  Fiona had always written notes to herself, but Grant sensed recently that the notes were becoming somewhat alarming.  Instead of books to read or appointments to keep, she was writing “cutlery” on the kitchen drawers. Then she started forgetting normal things–like how to drive home or that something which she thought had happened last year had actually happened 12 years ago. Not major problems, but causes for concern.

And so, Fiona was sent, at first temporarily, to Meadowlake.  Grant was told not to show up for the first month–they found that patients settled in better if they were not reminded of their house and old life.  After a month of wondering about her and thinking about her, Grant goes to Meadowlake, excited to see Fiona.  But when he arrives she is not in her room–their touching reunion scene will not be enacted as he pictured.  And the nurse seems rather impatient with him when he asks where she is. (more…)

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Elamin Abdelmahmoud–“Radio Summer” (West End Phoenix: That Summer Feeling, Summer 2019)

Posted in Canadian Content, CKVI 91.9 FM--Kingston Ontario, Elamin Abdelmahmoud, Erin Rae, Essays, NPR/PRI/PBS, Radio, Simone Heath, Summer, Tiny Desk Concert, West End Phoenix, Work on July 12, 2019| Leave a Comment »

SOUNDTRACK: ERIN RAE-Tiny Desk Concert #867 (July 12, 2019).

Lars Gottrich is one of my favorite NPR personalities.  He picks some of my favorite loud music but he also loves a lot of quiet music.  So even though I have never seen Erin Rae, he has apparently seen her many times.

Every time I’ve seen Erin Rae live, she transforms her quiet storms into different hues of squalling introspection.

She opens with “Bad Mind.”  But before that,

Her performance at the Tiny Desk opens with a soft tide of ambient tones — both a way to ease into the song but also understand that life’s unease is ever-present.  Then a lilting acoustic melody introduces “Bad Mind,” a stunning statement of identity from a Nashville singer-songwriter who shares the secrets we keep close.

She’s joined here by Jerry Bernhardt, a treasured collaborator and a guitarist who knows how to play decorative but unobtrusive figures. He and drummer Dom Billet both appear on Putting On Airs, taking those arrangements and stretching them out at the Tiny Desk with Mellotron/Rhodes piano player Ben Tanner and bassist Joe Garner.

It’s a lovely melody and she avoids the dreaded country twang when she sings. In fact when Bernhardt and Billet sing along, their voices are pure folk gold.  Bernhardt introduces a quiet buzzing guitar solo which, along with the organ adds all kinds of neat sounds to this simple song.

Before the second song she says she and her sister used to make their own radio shows.  They were a big NPR family but she thought it meant Nashville Public Radio.

“Can’t Cut Loose” is a song about letting go of things that aren’t good for you anymore.  Its’a quiet slow song with a pretty chorus.

The Tiny Desk closes with “the summer jam,” as Erin Rae jokingly calls “Love Like Before,”

She says it’s their most upbeat song, although that is all relative.  It’s about learning to be content wherever you may be.

It’s definitely a bit more upbeat but it’s still a slow and thoughtful song.

I won’t be going to see Erin Rae, but I did enjoy this mellow little Concert.

[READ: July 1, 2019] “Radio Summer”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

2003:  Here’s another summer job story.  But this one is actually a happy summer job story.

Abdelmahmoud says that normally you want a summer job that starts in the evening so you can sleep in.  But there was one job worth getting up at 8AM for: being the summer DJ at CKVI 91.9 FM in Kingston.

It was part of a school program and for the summer he was the only DJ there from 8AM to 4PM.  You want jazz? Sure! A ska show from 2-3? Sure!

This was a dream job and one lucky person got it each summer. (more…)

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Jalani Morgan-“First Time” (West End Phoenix: That Summer Feeling, Summer 2019)

Posted in Canadian Content, Essays, Jalani Morgan, Lucky Daye, NPR/PRI/PBS, Raphael Saadiq, Romance, Sex, Simone Heath, Summer, Tiny Desk Concert, West End Phoenix on July 11, 2019| Leave a Comment »

SOUNDTRACK: LUCKY DAYE-Tiny Desk Concert #852 (May 28, 2019).

I watched the Raphael Saadiq Tiny Desk Concert where he brought out Lucky Daye before watching this one.

I might have appreciated Lucky Daye’s guest spot more had I seen this first.  I wound up liking him quite a bit in this Concert.

In the blurb Sidney Madden writes:

NPR Music’s Bobby Carter and I have been checking for Lucky Daye since last year when we dubbed him one of the “Kings of R&B.” Then, after seeing Lucky perform live in Washington D.C., we knew his charisma and control would translate well to the Tiny Desk.

This set is fun for all of the horns that are included (which we’ll chalk up to his hailing from New Orleans).  I feel like the horns give the songs more excitement than if they hadn’t been there.

Hailing from New Orleans and inheriting a love of sticky, bass-bumping funk early on, Lucky wanted to bring the full flavor of his debut album, Painted to NPR. So he brought along a 10-person band, including a quartet of horns.

“Roll Some Mo” opens with a quiet guitar from Kenji Chan and twinkling keys from Quintin “Q” Gulledge.  There’s a soft cymbal escalation from Kendall Lewis when a cool bass line comes in from Daye’s go-to producer Dernst “D’Mile” Emile II.

The horns are quiet as the song starts.  The camera seems to really like trumpeter Crystal “RØVÉL” Torres as it zooms in on her a bunch.  Brandyn Phillips on trumpet and flugel gets some screen time too.  There’s not a ton of differentiation between the horns–no solos or anything.  But once in awhile you can pick out Chris Johnson on trombone and Corbin Jones on baritone sax.

Nikki Flores does the first backing vocal part but then Chelsea “Peaches” West adds a lot to the call and response.

“Misunderstood” is a quiet song with keys and Crystal “RØVÉL” Torres playing a muted trumpet.  This is my least favorite song because of the way he sings it–all of that moaning and ohhing is not my thing.  I don’t care for an R&B ballad, obviously.  But he won me over after the song.

“I’ve never performed that song in front of anyone with a band,” he said, trying to laugh off mid-set jitters and bask in the moment. “This is amazing, y’all. I’m really grateful.”

The final song, “Late Night” is a lot of fun.  It starts with some great wah wah guitar with horns and vocal hits.  I like the way his sings this song much better—deeper vocals and some fun backing vocals.

The end of this song with the horns swinging and singers singing is really fun.

[READ: July 1, 2019] “First Time”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

1998

This story is mostly visual.  Because there’s not a lot of text.

Grade 11.  A daily bus ride.  A beautiful girl.

He wore a school uniform (grey pants, green cardigan).

She had long straight hair, amazing eyes and was always alone.  She was out of his league. (more…)

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Heidi Sopinka–“Diamond Monkey” (West End Phoenix: That Summer Feeling, Summer 2019)

Posted in Canadian Content, Heidi Sopinka, Jamaica, Juice Wrld, Nostalgia, NPR/PRI/PBS, Scooby Doo, Shaggy, Simone Heath, Sting, Summer, Tiny Desk Concert, West End Phoenix, Work, Yellowknife, Canada on July 10, 2019| Leave a Comment »

SOUNDTRACK: STING AND SHAGGY-Tiny Desk Concert #866 (July 10, 2019).

Sting is certainly one of the biggest names to play the Tiny Desk Concert thus far (even if his star has probably faded somewhat).  I was surprised to see him here. And also surprised to see him with Shaggy, a singer I don’t know all that much about.

Sting and Shaggy might not be the most likely musical pairing. But one thing is certain, they love playing each other’s music. On a bright autumn morning, the legends arrived at the NPR Music office bleary-eyed yet excited to play for the diverse staff of Shaggy and Sting fans. What surprised many of my NPR colleagues is just how well the collaboration works.

I don’t know if they have done more together besides this, but they certainly sound familiar with each others work.  Well, the blurb suggests that they are or were touring together:

Shaggy affectionately refers to his collaborator as “Stingy,” putting his arm around him mid-performance. It’s easy to see the camaraderie that being on the road together affords these veteran musicians.

They open the set with “Englishman in New York” and Sting’s bass sounds great.  When he sings, he is so clearly Sting (even if he’s singing is slightly affected).  Dominic Miller strums Reggae offbeats on acoustic guitar.  Then Shaggy takes the second verse.

Shaggy (zoinks! – his nom de guerre comes from the Scooby-Doo cartoon character) was born in Kingston, Jamaica. He moved to New York when he was 18 and his music evokes only good vibes. The positive energy he brought to their opening song, “Englishman[and Jamaican]In New York,”had everyone in the room grinning ear to ear, “early morning Reggae style,” as he put it.

Shaggy adds this humorous verse:

I wear my colors in my back pocket / I got a big spliff in my hand /
and you might notice there’s swagger anytime I walk / I’m a Jamaican in New York.

Their voices sound great together especially as the end of the song soars unexpectedly.

After the tune, Sting announced “I never sang that song before 8 PM… Ever!”

Up next is “Don’t Make Me Wait,” a song I don’t know.  Sting plays a reggae bass line will Shaggy sings the first verses. The backing vocals from Gene Noble and Melissa Musique fill the chorus.  Then Sting takes the next verses.

The end is really funny as Shaggy tries to clap along with the backing singers but he gets lost and everyone laps.

The final song is a mash-up.  Dominic Miller co-wrote “Shape Of My Heart” which is mashed-up with Juice Wrld’s “Lucid Dream.”  “Shape of My Heart” sounds familiar–or at least sounds like a pretty typical Sting song.  Since I don’t know either song, I didn’t realize that Gene Noble was singing the lead of “Lucid Dream” within “Shape.”  Miller and Sting plays the same melody all the way through.  Noble has a nice voice, but I don’t like the way he sings.  Shaggy takes a verse.

This is an unlikely collaboration, but it works very well.

[READ: July 1, 2019] “Diamond Monkey”

The Summer 2019 issue of The West End Phoenix was a special all comics issue with illustrations by Simone Heath.  Each story either has one central illustration or is broken up with many pictures (or even done like a comic strip).

Each story is headed by the year that the story takes place–a story from that particular summer.

1995: This is another story about a summer job opportunity–one that promised much but delivered little.

This time the job opportunity was working the diamond mines in Yellowknife, Canada.  Heidi and her friends were driving up from Montreal.

This was pre-cell phone, pre-internet, pre-everything.  They squatted in grubby trailers playing cards.  What else was there to do?  Drink beers of course.

But you never wanted to go outside to pee, even after four beers because 20 seconds of dropped pants equaled at least three times that number in angry northern mosquito bites. (more…)

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