In case you didn't recognize it, this title refers to Stanley Stucci's put down of Anne Hathaway in the film The Devil Wears Prada. Hathaway thought she was way above the meticulous and sharp fashion magazine editor Meryl Streep (after VOGUE's Anna Wintour), and realizes she's NOT!
Stan Stucci, who has been ordered to train this neophyte, takes her to the stock room to pick out dresses to present to Mme. VOGUE for the magazine's next edition.
Do you want me to say, "Poor you. Miranda's picking on you. Poor you. Poor Andy"? Hmm? Wake up, six. She's just doing her job. Don't you know that you are working at the place that published some of the greatest artists of the century? Halston, Lagerfeld, de la Renta. And what they did, what
These days artts curators and all those fols mannng (umm) those contemporary art galleyres need ot be coddled and led. OF course the varous governmental arts councls do a brllant job of that frsbeenng out ther varous grants for the "best behaved."
Here is Kendra Ainsworth (poor poor Kendra), curator of contemporary art at the AGM, standing in awe before the quack artist Libby Hague (well that is an oxymoron since all modern and post-modern artists are quacks) who herself looks like she needs some kind of consolation from some force higher than HER. I can fit that role! No. On second thoughts, one cannot wean decades of dependency on government grants: i.e. Free Money. And fakery.
As someone who grew up in the West, yet who comes from a non-Western background, you have helped me so much in remaining calm and confident when all those around me were ready and happy to knock down this wonderful and beautiful civilization.
I now continue in preserving this West from these alien, destructive forces.
Here is a Mozart piano sonata, which I hope you will enjoy listening to.
Below is my February 2013 blog post somewhat explaining my coinage of the word Mozartphile (which probably should be Mozartophile):
I can never have enough praise for Mozart. You could say that I am a Mozartphile. I am forever surprised, astounded, delighted and intrigued by his music. Recently, I have been listening to Dvorak and Sibelius, and they surprise and astound, but they never really delight like Mozart.
The incredible thing about Mozart is how accessible he is, without losing any of his musical complexity. I think he does this by keeping his essential melody (often enchantingly beautiful) always within the listener's reach.
He bends and rotates the melody, without ever putting the fear into the listener that the melody would get lost in a myriad of incomprehensible notes. Each note, however distant and distinct from the original, makes perfect sense, and is as natural a progression as the air we breathe.
In other composers, I sometimes wonder why they went in the direction they went, or at some point, I get a little bored or distracted with their melodious experiments. But never with Mozart.
In fact, I get irritated when other (worldly) things distract me from Mozart's intricate meanders. But, he never leads us far from the origin, and never teases us too much, although he loves to tease. His music may have some jest and playfulness in it, but it is, down to the simple piano sonatas, very serious. Each note was chosen with a certain aim, and is as precious as the next.
Here is my modest take on Mozart on his birthday in 2013, which somewhat explains my Mozartophilia:
I can never have enough praise for Mozart. You could say that I am a Mozartphile. I am forever surprised, astounded, delighted and intrigued by his music. Recently, I have been listening to Dvorak and Sibelius, and they surprise and astound, but they never really delight like Mozart.
The incredible thing about Mozart is how accessible he is, without losing any of his musical complexity. I think he does this by keeping his essential melody (often enchantingly beautiful) always within the listener's reach (more at the post).
Just know the kingdom of God is within you
Even though the battle is bound to continue
True Sadness
You were a friend to me when my wheels were off the track
I know you say there is no need, but I intend to pay you back
When my mind was turning loose and all my thoughts were turning black
You shined a light on me and I intend to pay you back
When I was a child, I depended on a bottle
Full-grown I've been known to lean on a bottle
But you're the real deal in a world of imposters
And I've seen the program make men out of monsters
'Cause I still wake up shaken by dreams
And I hate to say it but the way it seems
Is that no one is fine
Take the time to peel a few layers and you will find
True sadness
Adam and Eve must have really done a number
On that garden when the apple was finished
Leaving behind them a den made of sadness
A damage that can't or won't be replenished
'Cause I still wake up shaken by dreams
And I hate to say it but the way it seems
Is that no one is fine
Take the time to peel a few layers and you will find
True sadness
Angela became a target
As soon as her beauty was seen
By young men who try to reduce her down
To a scene on an X rated screen
Is she not more than the curve of her hips?
Is she not more than the shine on her lips?
Does she not dream to sing and to live and to dance down her own path
Without being torn apart?
Does she not have a heart?
I cannot go on with this evil inside me
I step out my front door and I feel it surround me
Just know the kingdom of God is within you
Even though the battle is bound to continue
'Cause I still wake up shaken by dreams
And I hate to say it but the way it seems
Is that no one is fine
Take the time to peel a few layers and you will find
True sadness
True sadness
True true sadness
I can never have enough praise for Mozart. You could say that I am a Mozartphile. I am forever surprised, astounded, delighted and intrigued by his music. Recently, I have been listening to Dvorak and Sibelius, and they surprise and astound, but they never really delight like Mozart.
The incredible thing about Mozart is how accessible he is, without losing any of his musical complexity. I think he does this by keeping his essential melody (often enchantingly beautiful) always within the listener's reach (more at the post).
Several short posts I've made over the years of blogging:
Philippe Gaubert (1871-1941) Divertissement Grec (1908) Music for Two Flutes and Harp or Piano
I don't who the flautists in the above piece are (nor the accompanist), but I like this slower version better (here's a faster version). I think it gives "breathing space" for the faster trills.
Brief biography:
Gaubert Philippe (1879-1941) was born in Cahors (Lorraine, France) on the 5th of July, 1879. His father, a shoe maker and amateur clarinettist, gave him his first music lessons. When Philippe was seven the family moved to Paris, where Jules Taffanel, and a few years later Taffanel`s son Paul, became his flute teachers. At first he received private lessons, but since 1893 he studied at the Paris Conservatoire, receiving a First Prize the following year. His teachers for harmony and composition were Raoul Pugno, Xavier Leroux and Charles Lenepveu. In 1905 he received the 2nd Prix de Rome. In the meanwhile he had become the assistant conductor of the `Société des Concerts`, and after serving in the French army he was appointed principal conductor of the Opéra, as well as flute professor at the Conservatoire. After the Great War he built up a splendid career, particularly as a conductor specializing in contemporary music. Gaubert conducted many important premières, such as Albert Roussel`s opera `Padmâvati` (1923) and the ballet `Bacchus et Ariane` (1931), Gabriel Fauré`s `Masques et Bergamasques` (1919), and Henri Sauguet`s `La Chartreuse de Parme` (1939). Besides, many first performances of works by Pierné and Ibert were conducted by Gaubert. He also brought much Wagner and Berlioz, and presented a new interpretation of Monteverdi`s opera `Orfeo`. Gaubert toured all over Europe. The `Wagnervereeniging` invited him to Amsterdam, where in 1935 he conducted the Concertgebouw Orchestra in Paul Dukas` `Ariane et Barbebleu` at the Stadsschouwburg. [Source]
Here is the original sheet music, showing the option for piano or harp accompaniment (I've posted images below).
I recently heard "My Funny Valentine" on one of those store muzak without the words, remembered some of the words, and searched for the song on-line.
Here's what I found about its origins:
"My Funny Valentine" is a show tune from the 1937 Richard Rodgers and Lorenz Hart musical Babes in Arms in which it was introduced by former child star Mitzi Green. After being recorded by Chet Baker, Frank Sinatra and Miles Davis, the song became a popular jazz standard, appearing on over 1300 albums performed by over 600 artists.
Babes in Arms opened at the Shubert Theatre on Broadway, in New York City on April 14, 1937 and ran for 289 performances.[1] In the original play, a character named Billie Smith (played by Mitzi Green) sings the song to Valentine "Val" LaMar (played by Ray Heatherton).[2] In the song, Billie pokes fun at some of Valentine's characteristics, but ultimately affirms that he makes her smile and that she doesn't want him to change.
The song was performed by male and female vocalists over the years. Looking at the lyrics, I think it could be sung by either a male or a female. But, I think a female rendition has just a little more authenticity. I somehow don't think romantic men would list these (minor) faults in the object of their desire. They are usually all gushy about her beauty and other wonderful attributes. Women might be a little more realistic about physical attributes (and even "smartness, perhaps preferring kindness).
Here are the lyrics. There is a longer version at the beginning which I've left out, since most of the interpretations use the shorter version. I've posted the beginning lyrics at the end of this post. Here are the commonly sang lyrics:
My funny valentine Sweet comic valentine You make me smile with my heart
You looks are laughable, unphotographable Yet you're my favorite work of art
Is your figure less than Greek? Is your mouth a little bit weak? When you open it to speak, are you smart?
Don't change your hair for me Not if you care for me Stay little valentine stay. Each day is valentine's day
Above, I've posted the video of my favorite version by Frank Sinatra, who sings it straight (and not too slow) in his inimitable, confident style.
The black jazz singers, Sarah Vaughan, Etta James, and both male and female, sing it with too much scatting (which I've complained about here about Ella Fitzgerald and Billie Holiday singing "Am I Blue," although a young Ella Fitzgerald performs "My Funny Valentine" with restrained charm). The energetic Welshman Tom Jones, with the modernized instrumentals, gives it a rock vibe. A surprising actress-turned-singer is Michelle Pfeiffer (I've always liked her as an actress) sings it in her movie The Fabulous Baker Boys. Contemporary black singers perform it with too many riffs and improvisations (known as melisma [pdf article]), which overloads the melody. Linda Ronstadt, whom I never used to like, sings it with a pure voice. Melinda Doolittle, who was a highly placed contestant at American Idol a few years ago, imitates Anita Baker, who I think performs it much better. Melinda overdoes the improvisational melisma and overloads the melody with too many notes, to the detriment of the song. This is common among black singers today.
There are a couple of non-vocal versions, including Miles Davis on his haunting trumpet (whom Sting- formerly of the band the Police - does a great job of channeling). Chet Baker also performs it on his trumpet, although I haven't listed his version, since he drags his melodies so much that it is hard to sit patiently through them.
Here are the beginning lyrics, which many singers leave out:
Behold the way our fine feathered friend His virtue doth parade Thou knowest not my dim witted friend The picture Thou hast made Thy vacant brow and Thy tousled hair Conceal Thy good intent Thou noble upright, truthful, sincere And slightly dopey gent
This is the song Heart is a Drum from Beck's new album Morning Phase.
There was drama at the Grammys, which I no longer watch because of the coarse behavior, the ugly outfits, the juvenile performers, and the unmusical music. And sure enough, the untalented, aggressive, entitlement-fed black rap performer Kanye West hijacked Beck as he was receiving Best Artist award.
Everyone thought it was a joke, including his pathetic wife, Kim Kardashian, who is part of the Kardashian enterprise which puts on a "reality" show on television. Her mother was also married to Bruce Jenner, the now freaky creature who decided to become "female."
Such is the level of our artists these days.
I've posted above the song which Beck sang at the Grammys, Heart is a Drum, from his deserved win, Album of the Year, Morning Phase.
It is a textured, layered piece, which reminds me a little of the Simon and Garfunkel rendition of the English folk song Are You Going to Scarborough Fair.
Simon and Garfunkel in Central Park, Singing Are You Going to Scarborough Fair in 1981
Below is Beck performing Heart is a Drum with Chris Martin, of the group Coldplay, at the Grammys. Perhaps they are the next Simon and Garfunckel?
Beck and Chris Martin, of Coldplay, performing together at the Grammys
And here is Beck startled as West moves on stage, interrupting his Grammy acceptance.
"This is NOT a Joke!!!!!!!"
And here is West declaring he was very serious about jumping on the stage to interrupt Beck. BEYONCE WAS THE TRUE WINNER! West did the same thing in 2009 when Taylor Swift won Best Female Video at the Video Music Awards. That true winner, Beyonce, was robbed of her prize!
Such is the aggression of anti-white blacks, who declare their own standards and we better agree, or else.
Kim Kardashian, who was next to West, is realizing what she's in for with her life with West, whom she married in 2014. Below is her startled expression at West's tirade.
"That was NOT a Joke!!!!!!!" [Source: Screen capture from Youtube]
Below is how Beyonce ended her performance at the Grammys with the now much referenced but false narrative "Hands Up, Don't Shoot" of the Ferguson shooting. Several other black performers also did the same "hands up" motion at the end of their performances. Pharrell Williams went one step further and added "hoodies" on his multicultral/multiethnic/multigendre background performers. We are ALL Michael Brown, and Trayvon Martin.
Beyonce on stage at the Grammys singing "Take My Hand, Precious Lord"
Selma is a gospel song written by Rev. Thomas A. Dorsey in 1956 (a black man), but performed with genuine spirituality by a white performer, Tennessee Ernie Ford, who sang in the "country and Western, pop and gospel musical genres."
Below is Tennessee Ernie Ford's rendition, with a full, white, choir which he sang in 1965, right in the middle of the civil rights era.
Tennessee Ernie Ford singing Take My Hand Precious Lord in 1965
So what do Beyonce, Pharrell, Kanye and all those spoilt, contemporary blacks think about this? I assume Beyonce has seen it, given the close resemblance of her big Grammys choir to Ford's original. She is, then, a great hypocrite.
Beyonce is no doubt a talented singer and songwriter, but her insistence on the riffs and improvisations (known as melisma [pdf article]), overloads and drowns the melody. The Grammy judges made the right call, if only for her and other blacks to listen to Beck's album, in some moment of curiosity and humility, and learn from it.
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I recently heard Edith Piaf's lovely song "La Vie en Rose" on the radio, with Louis Armstrong singing it in his inimitable voice. He sings mostly in English but endearingly tries a little French along the way, mostly in the refrain "La Vie en Rose" where his rose sounds more American than French. Another "Armstrong" variation is when he adds the letter "n" in the French "en" and pronounces it "en" as in "end" without the "d" (the correct pronunciation of "en" is at the 1:06 spot in this French pronunciation video).
Below are videos of Armstrong and Piaf singing "La Vie en Rose" (Armstrong also plays the trumpet), separately, of course:
Edith Piaf singing La Vie en Rose
Louis Armstrong singing and playing La Vie en Rose
La Vie en Rose:
Des yeux qui font baisser les miens Un rire qui se perd sur sa bouche Voilà le portrait sans retouche De l’homme auquel j’appartiens
Quand il me prend dans ses bras Il me parle tout bas Je vois la vie en rose
Il me dit des mots d’amour Des mots de tous les jours Et ça me fait quelque chose
Il est entré dans mon coeur Une part de bonheur Dont je connais la cause
C’est lui pour moi, moi pour lui dans la vie Il me l’a dit, l’a juré pour la vie
Et dès que je l’aperçois Alors je sens en moi Mon coeur qui bat
Des nuits d’amour à plus finir Un grand bonheur qui prend sa place Les ennuis, les chagrins s’effacent Heureux, heureux à en mourir
Quand il me prend dans ses bras Il me parle tout bas Je vois la vie en rose
Il me dit des mots d’amour Des mots de tous les jours Et ça me fait quelque chose
Il est entré dans mon coeur Une part de bonheur Dont je connais la cause
C’est toi pour moi, moi pour lui dans la vie Il me l’a dit, l’a juré pour la vie
Et dès que je l’aperçois Alors je sens en moi Mon coeur qui bat
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Saturday, December 13, 2014
Bach Flute Sonata in E minor BWV 1034 I. Adagio ma non tanto II. Allegro Flute: Emmanuel Pahud Harpsichord: Trevor Pinnock Cello: Jonathan Manson ------------------------------------------------------------------------------------------------------------------------------------------------------------- Posted By: Kidist P. Asrat -------------------------------------------------------------------------------------------------------------------------------------------------------------
The Wiebes were guest performers at the Salvation Army Christmas concert yesterday, which I posted on here.
I cannot find any of the carols and Christmas songs that the Wiebes sang yesterday, but here is a video of them performing Angels We Have Heard on High, on a 2012 television program, with Angela Wiebe's beautiful, angelic soprano voice, and accompanying the carol with her violin, as Shane Wiebe plays the piano.
More about the concert at the Living Arts Centre website here. ------------------------------------------------------------------------------------------------------------------------------------------------------------- Posted By: Kidist P. Asrat -------------------------------------------------------------------------------------------------------------------------------------------------------------
Drummer and Pianist Jacob and Sheryl Slous, what looks like a Mother and Son Duo
The Salvation Army Mississauga Temple Band and Choir
I wrote a few days ago I wrote about the Salvation Army band performing in the Square One Mall in Mississauga. As I gave my donation, I asked where else they were performing, and the kind gentleman told me that they would be at the Living Arts Centre this Saturday. I paid the two dollar (!) entrance ticket (and added a little more in donations) and spent two hours listening to a stellar orchestra. Since this was a carols concert as well, the audience was asked to participate in the carols. This is when I miss being part of a choir!
I tried to be discreet as I took the above photos.
[Photos By: KPA]
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The Salvation Army Temple Band of Mississauga sent a small group to represent them in Square One Mall. This group played Christmas carols with their big, deep, brass sound. They were in the mall yesterday, and I stayed listening to them to the very end (about an hour's worth of music). I managed to take these photos during that time.
I tried to find out more about their program, but I couldn't so far. I would think they will be back soon. Christams season has only just started.
Under a twinkling tree
Waiting for donations
The band leader
Jokes during the break
Changing the guard
[Photos By: KPA] ------------------------------------------------------------------------------------------------------------------------------------------------------------- Posted By: Kidist P. Asrat -------------------------------------------------------------------------------------------------------------------------------------------------------------
Aria Four of Bach's Hunting Cantata: Sheep May Safely Graze.
San Francisco Early Music Ensemble Voices of Music Sheep May Safely Graze, by J.S. Bach Soprano: Susanne Ryden Recorders: Hanneke van Proosdij and Louise Carslake Viola da Gamba: William Skeen Baroque chamber organ: Rodney Gehrke
The secular cantata Was mir behagt, ist nur die muntre Jagd! (‘The lively hunt is all my heart’s desire’, known as the ‘Hunt’ Cantata)...makes use of four solo singers, including two sopranos representing Diana and Pales. The instruments involved include two corni da caccia, recorders, two oboes and an oboe da caccia, basson, strings and continuo. Diana, in an opening recitative, sings of the pleasures of the hunt, continuing, in an aria appropriately accompanied by the two corni da caccia (hunting-horns), to declare hunting the pleasure of the gods. Later in the cantata, Pales, the goddess of sheep and flocks, follows suit. Her recitative leads to one of the most famous of all arias, widely known in English as ‘Sheep may safely graze’ (‘Schafe können sicher weiden’), words that, in context, have no religious connotation. [Source]
Sheep may safely graze Sheep can safely graze, Where a good shepherd watches over them. Where rulers are ruling well, We may feel peace and rest And what makes countries happy.
German: Schafe können sicher weiden Schafe können sicher weiden, Wo ein guter Hirte wacht! Wo Regenten wohl regieren, Kann man Ruh und Friede spüren Und was Länder glücklich macht! ------------------------------------------------------------------------------------------------------------------------------------------------------------- Posted By: Kidist P. Asrat -------------------------------------------------------------------------------------------------------------------------------------------------------------
The dance had a frame as a central point. The two dancers (Hough and his "celebrity" partner Bethany Mota) danced with this frame, but the main story was how they moved within the limitations of this frame, with the girl at times trying to get out of the "frame" and the boy pulling her back in.
Derek Hough and Bethany Mota dancing with (and within) a frame Video of the full dance
It was a piece about art, about painting, about human desires, about love and, of course, about (and of) dance.
Perhaps he knows the endless (and often futile) debate by modern artists about "The Frame" and how it confines art (although I think it is a false premise, but that is for another discussion).
But, Derek didn't scorn this frame, or try to do away with it. Instead, he used its limitations, as great artists have done, to create a whole world within those four pieces of wood.
Of course, Derek's frame is also the dance floor, so even if his partner left that picture frame, she would still be confined to the dance floor's "frame." Unless she lept off the stage. And that would have been another dance.
But were that moment to arrive, I think Derek (or this character that Derek created) would try to keep her there on the dancer's stage, where art, and dance are, and not into the dark and mundane audience hall.
The piece was picture perfect.
(Don't pay much attention to the whiny music, which is supposed to be an acoustic version of the Jackson 5's "I want you back." It looks like contemporary dance is ahead of contemporary music - or "contemporized" music - although there are some really good singer/songwriters that are hidden from the pop public that coming out these days. Listen and decide, the whiny version, that is.)
Modest Mussorgsky, Russian (1839-1881) Pictures at an Exhibition: Tuileries (1864) Allegretto non troppo troppo,capriccioso Pianist: Byron Janis
Although Mussorgsky's piece is titled Tuileries (after the Tuileries Gardens), he had never been to Paris. Instead, he based his piece on a painting of the Tuileries (now lost) by Russian architect and painter Viktor Hartmann.
Maurice Prendergast, American (1858-1924) In Luxembourg Gardens (1907) Oil on Panel Height: 10.75 in x 14 in ------------------------------------------------------------------------------------------------------------------------------------------------------------- Posted By: Kidist P. Asrat -------------------------------------------------------------------------------------------------------------------------------------------------------------
Antonin Dvorak Symphony No.8 in G major, Op.88 Movement I. Allegro con brio Conducted By: Herbert von Karajan August 15, 1974 Grosses Festspielhaus, Salzburg
The symphony is in four movements:
- Allegro con brio (G major) [which is posted here] - Adagio (C minor) - Allegretto grazioso – Molto vivace (G minor) - Allegro ma non troppo (G major)
The work is scored for 2 flutes (2nd doubling piccolo), 2 oboes (1st doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. The orchestration of piccolo and English Horn is unusual in this symphony. The piccolo only sustains a long note in unison with the flute at the exposition of the 1st movement and the English Horn only plays a short, but exposed phrase during the second recapitulation of the main "bird call" theme, also in the 1st movement. In some editions the 2nd oboe doubles on English horn rather than the 1st oboe as indicated in most scores. A typical performance of the Eighth lasts about 36 minutes, making it one of Dvořák's shorter symphonies.
Little is known about Jean Baptiste Loeillet de Gant’s life, but his solo recorder sonatas have retained their popularity from their origins in the Baroque period to the present day. Strongly influenced by the violin sonatas of Corelli, these pieces combine Italian and French characteristics to create expressive and virtuoso chamber music of the greatest elegance and finesse. Daniel Rothert brings his “warm, refined tone” (American Record Guide) to a selection of the best sonatas from Opp. I–IV [Source: Naxos.com]
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Here is an email I sent to Larry Auster, while he was ill:
Larry,
As someone who grew up in the West, yet who comes from a non-Western background, you have helped me so much in remaining calm and confident when all those around me were ready and happy to knock down this wonderful and beautiful civilization.
I now continue in preserving this West from these alien, destructive forces.
Here is a Mozart piano sonata, which I hope you will enjoy listening to.
(If this doesn't open, you can listen to it here.)
Kidist
[Note: the youtube page has been discontinued, but the Sonatas can be listened to here]
2017: More notes: The most recently accessible Youtube collection is here
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Posted By: Kidist P. Asrat
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Technique, or perfecting technique, is the cornerstone of any artistic endeavor. Excercises are essential.
Here are two methods of technique, for flute and piano, and the musucians who developed them.
Carl Czerny
...was an Austrian composer, teacher, and pianist of Czech origin whose vast musical production (more than a thousand pieces and up to Opus 861) is being rediscovered. Czerny's books of études for the piano are still widely used in the pianistic pedagogy.
Here is a partial list of his pedagogical books:
Op.139, 100 Progressive Studies without Octaves Op.200, The Art of Improvisation (or The School of Extemporaneous Performance) Op.335, Legato & Staccato Exercises, 2 Bks Op.400, The School of Fugue Playing, 24 Grand Studies Op.599, Practical Method for Beginners Op.718, 24 Studies for the Left Hand Op.838, Studies on the practical knowledge of all the chords of the General basses [Source]
Ernesto Köhler
...was an Italian flautist and composer. He was considered one of the must flautists of his era.
Born in Modena, Köhler was taught the flute by his father, Venceslau Joseph Köhler, who was the first flute of the Duke of Modena's orchestra. He moved to Vienna in 1869 as a flautist, and then became a member of the orchestra of the Imperial Opera in Saint Petersburg beginning in 1871. He also led the orchestra of the Imperial Institute of Engineering and taught at the Prinz Oldenburg Institute.
Noted as a composer for flute, Köhler wrote over 100 works for the instrument: études, duets, and solos. He also produced an opera and several ballets. He is well known among flute players for "Flöten-Schule" (c. 1880), his popular method for learning the flute, and for Progress in Flute Playing (his Opus 33, published in the 1880s), a series of three progressive instructional books for the flute player. [Source]
Here is a list of his etudes. ------------------------------------------------------------------------------------------------------------------------------------------------------------- Posted By: Kidist P. Asrat -------------------------------------------------------------------------------------------------------------------------------------------------------------
