Showing posts with label Murfin’s Carols for Corona and Winter Holiday Music Festival. Show all posts
Showing posts with label Murfin’s Carols for Corona and Winter Holiday Music Festival. Show all posts

Wednesday, January 6, 2021

We Three Kings The Epiphany—Murfin’s Carols for Corona and Winter Holiday Music Festival

                                            We Three Kings performed by Blackmore's night.

The Christmas season officially ends today as the Catholic Church and Western Christian denominations that borrow its liturgical calendar observe the Feast of the Epiphany. In the United States and some other countries the feast is now celebrated on the First Sunday after New Year’s Day which would have been January 3 this year.  Theologically it is a celebration of the revelation to the world of Jesus as the fully human God the Son.  As such it celebrates a facet of the Trinity.  Little wonder that my Unitarian Universalists, who deny the whole Three-in-one God deal, don’t make much of the day.

There are several components of the revelation.  The first is the visit by the Magi to the Child in Bethlehem—the announcement of the Holy presence to the Gentile world.  Second is the baptism of Jesus in the River Jordan by his cousin John, the half-mad preacher.  Third is the marriage party in Cana where Jesus was said to have performed his first miracles—proof of his divine power.

The story of the Magi from the Bible morphed into three specific Eastern rulers in Western tradition.

Despite the complexity of the multiple stories, in the West the Feast of the Epiphany is largely all about those Magi.  In a fact in most Latin American countries it is most commonly known as the Feast of the Three Kings, which sort of diverts attention from the alleged star.  On the Eve the Magi are finally added to Nativity scenes and on January 6, children wake up to gifts from the Kings.  It was the main gift giving occasion of the Christmas season, or at least was until ubiquitous Santa Claus began invading traditional cultures.

In Jolly Olde England the 5th was Twelfth Night of Shakespearean fame. It was a traditional time for mumming and the wassail. The Yule Log was left burning until the 6th.   It was also a day for playing practical jokes, similar to April Fool’s Day Thus all of the foolery in the Bard’s play which was written to be performed on its namesake.  All of this gayety and mirth, was, of course, squelched by those pesky Puritans and few vestiges of these traditions are still celebrated.

Now about those alleged Kings…First, it they existed at all they were surely not rulers of any sort.  What we know of them comes from the Gospel of Mathew as described in the King James Version:

 

2 Now when Jesus was born in Bethlehem of Judaea in the days of Herod the king, behold, there came wise men from the east to Jerusalem,

 

2 Saying, Where is he that is born King of the Jews? for we have seen his star in the east, and are come to worship him.

 

3 When Herod the king had heard these things, he was troubled, and all Jerusalem with him.

 

4 And when he had gathered all the chief priests and scribes of the people together, he demanded of them where Christ should be born.

 

5 And they said unto him, In Bethlehem of Judaea: for thus it is written by the prophet,

 

6 And thou Bethlehem, in the land of Juda, art not the least among the princes of Juda: for out of thee shall come a Governor, that shall rule my people Israel.

 

7 Then Herod, when he had privily called the wise men, enquired of them diligently what time the star appeared.

 

8 And he sent them to Bethlehem, and said, Go and search diligently for the young child; and when ye have found him, bring me word again, that I may come and worship him also.

 

9 When they had heard the king, they departed; and, lo, the star, which they saw in the east, went before them, till it came and stood over where the young child was.

 

10 When they saw the star, they rejoiced with exceeding great joy.

 

11 And when they were come into the house, they saw the young child with Mary his mother, and fell down, and worshipped him: and when they had opened their treasures, they presented unto him gifts; gold, and frankincense and myrrh.

 

12 And being warned of God in a dream that they should not return to Herod, they departed into their own country another way.

 

Note that they are not identified in any way as kings.  They are said to be from the east so it is likely that they were meant to represent Persian priests or Asian astrologers.  Nor is any number set.  The early church sometimes used figures up to twelve.  Eventually the number was settled at three and totally un-Biblical tales sprang up around them.  They even grew names and origin storiesMelchior, a Persian; Caspar, an Indian; and Balthazar from Arabia—perhaps from Yemen which then had Jewish kings. 

                    The Adoration of the Magi by Carlo Dolci.

There is no reason to believe that their visit fit neatly into the later liturgical calendar twelve days after a mid-winter birth.  In fact the kind of Biblical scholars who try to find historical accuracy in the Bible think that the visit may have been up to two years after the birth and that the Holy family may have been in residence in Bethlehem for that long.  They infer this from the fact that Herod ordered the massacre of all male children under two years of age, not just infants.

Then there is the issue of the Star.  Of course if you are a literalist, you believe that an actual star either hovered over the City of David, or actually moved, leading the Magi on their journey.  But those seeking natural explanations for the phenomena have proposed various possibilities, most commonly a comet or the appearance of a near-solar system super nova.  The problem with either of these suggestions is that the very careful records kept by Chinese astrologers make no note of either phenomenon in a five year window around the time of Jesus’s presumed birth.  And they surely would have noted it.

One explanation that has gained some traction is that the Star was actually a triple conjunction of Jupiter and Saturn in the constellation Pisces which is known to have occurred in 7 BCE, a little late for the story but close enough for some.  But contemporary Babylonian records show little interest in the event and does not suggest that the planets converged closely enough in the sky to create a super bright object.

Then perhaps it was a UFO.  That will probably be a History Channel two hour special next year.

Or the Star and the Magi are all pious fiction and poetry meant to inform the understanding of the birth of the Messiah to the Gentile world.  No mention of the Magi can be found in the simple nativity story found in Luke.  Presumably the sudden presence of well-dressed strangers in the stable would have been noted by those shepherds.  And why did they have to follow a Star when God apparently had no shortage of herald angels to tell the travelers just where to go.

But I don’t want to nit-pick a treasured story.  After all, much fiction can be truth in a broader sense, or at least symbolic of a truth.

Back to the Feast of the Epiphany.  The Copts and Eastern Orthodox also celebrate the feast but on different dates dependent on their calendars.  They also celebrate the incarnation of God in Man, but build their observances not so much on the Kings.  They concentrate on the Baptism as the great announcement.

An icon of the Baptism of Jesus by his cousin John shows the focus of the Orthodox Feast of the Epiphany.

It was also much more celebrated in the Medieval Western church as evidenced by many pre-Renaissance paintings of the Baptism and concerning Jesus’s relations with his cousin John.

But those virtually disappeared signaling a change of Christology in the Catholic Church.  Emphasis on John and other earthy relatives of Jesus such as his siblings like James of Jerusalem seemed uncomfortably close to viewing Jesus as a wholly mortal man, not a partner in a godhead.

Anyway, there you have it—The Feast of the Epiphany.  Celebrate or not as you choose.  But tomorrow it won’t be Christmas any more.

                                  We Three Kings author and composer the Rev. John Henry Hopkins, Jr.

The song most associated with the Epiphany is, of Course, We Three Kings of Orient Are.  It   was written in 1857 by John Henry Hopkins Jr., Rector of Christ Episcopal Church in Williamsport, Pennsylvania. He wrote the carol for a Christmas pageant in New York City at his alma mater, the General Theological SeminaryHe published the carol in 1863 in his book Carols, Hymns, and Songs. It was the first American Christmas carol to achieve international popularity, as well as the first to be featured in Christmas Carols Old and New, the prestigious and influential collection published in Britain in 1916 and was printed in the hymnal of the Episcopal Church

Founding and core members of Blackmore's Night Rithie Blackmore and Candice Night.

It has been recorded countless times.  Among the loveliest of versions is by Blackmore’s Night the British/American traditional folk rock band formed in 1997 by multi-instrumentalist Ritchie Blackmore and vocalist and woodwinds player Candice Night with a rotating ensemble of from 3 to 12 five additional musicians on Medieval and modern instruments and singing harmonies.  This track was featured on their 2006 album Winter Carols.


Tuesday, January 5, 2021

Merry Christmas Darling The Carpenters—Murfin’s Carols for Corona and Winter Holiday Music Festival

                                            Merry Christmas Darling by The Carpenters.

Just enough time for one last secular Christmas song.   We turn today to the sub-genre of Christmas romance songs.  These days they are ubiquitous and probably make up the bulk of new pop and country songs bidding to become lucrative radio perennials.  A slew of new songs by artists like Kelly Clarkson, Carrie Underwood, Dolly Parton, the Jonas Brothers, and others cracked this year’s Billboard Holiday Radio chart with seasonal love songs.  And, of course, Mariah Carey’s megahit All I Want for Christmas is You, which inspired a stamped of amorous Yuletide tunes was #1 yet again.

But it wasn’t always so.  Traditional carols focused on the Biblical Nativity or general merry making.  As the sentimental Victorians began to transform the holiday to a child-centric family event Christmas trees, Santa, and toys became common.  Then in the post-World War II period songs sentimental for imagined Courier & Ives holidays of yore became popular.  Not much romance at all, unless you count the wooing of Miss Fanny Bright by the reckless young swain driving his one horse open sleigh.

Some blues and jazz songs of the ‘20s, ‘30s, and ‘40s had romantic and even lustful themes and there were a handful of vaudeville novelty songs.  The World War II separation songs were often about home but just as often about parted lovers.

Meanwhile other cultural trends began to focus on Christmas romance.  Classic holiday movies like The Shop Around the Corner, It’s a Wonderful Life, Christmas in Connecticut, and White Christmas had love stories.  More recently Big Screen films from major studios with big stars like Love Actually, The Holiday, and Serendipity have been boxoffice smashes.  

Romance pulp magazines found their Christmas issues the most popular of the year.  That gave birth to Harlequin Romances and imitators who found that Christmas novels flew off of the drugstore paperback racks.  More prestigious publishers and more serious writers took notice and joined the game.


Just some of the made for TV/cable/subscription service holiday films that can be found around the clock on your TV.

The Hallmark Channel began churning our Christmas romances movies more than 25 years ago to great success.  Others joined in including Lifetime, which now produces nearly a dozen every year.  Now subscription services including Netflix and Hulu have jumped in the market with more expensive production values and bigger stars.  Including endlessly recyclable back catalogs hundreds of films can be found 24 hours a day over the entire season, some even making it to year-round availability.

Pop music has followed the same trends.  There are big bucks under the holiday mistletoe.  Elvis Presley and Blue Christmas was one of the first huge Christmas romance hits, the trend building year after year until holiday romance songs dominate new music.

The sleeve from The Carpenter's original 1970 Merry Christmas Darling single.

But today we are reaching back a few decades to one of the finest of these love songs by one of the great female voices of her era—Karen Carpenter.  Merry Christmas Darling with lyrics by Frank Pooler and music by Richard Carpenter was released as a single on the A&M label in 1970.  The record went to #1 on Billboard’s Christmas singles chart that year and did so again in ‘71 and ’73.  The Carpenters recorded a new version for their class LP Christmas Portrait in 1978.  Richard Carpenter considered the original recording his sister’s finest performance.  And in fact she so owned the song that it has rarely been covered by anyone else.

Monday, January 4, 2021

Sleigh Ride The Boston Pops—Murfin’s Carols for Corona and Winter Holiday Music Festival

                                           Sleigh Ride performed by Arthure Fiedler and the Boston Pops.

While most pop Christmas music may not still be appropriate, winter music that ends up on holiday play lists certainly is.  By far the most popular orchestral piece in that category is Sleigh Ride, a popular light orchestra standard composed by Leroy Anderson who had the original idea for the piece during a heat wave in July 1946 and finished the work in February 1948.  It was first recorded by in 1949 by Arthur Fiedler and the Boston Pops Orchestra and became the highlight of its annual Christmas concerts.

Leroy Anderson had a productive relationship with Arthur Fiedler, conductor of the Boston Pops.

Anderson was born in 1908 in Cambridge, Massachusetts to immigrant Swedish parents.  In the late 1930’s he developed a relationship with Fiedler and there after provided the Pops with a steady stream of original compositions. John Williams described him as “one of the great American masters of light orchestral music.”  Among Anderson other signature pieces were Jazz Pizzicato/ Jazz Legato, Blue Tango, The Syncopated Clock, and Plink, Plank, Plunk! Which was used as the theme for the CBS panel show I’ve Got a Secret.  Starting in 1950 Anderson led his own studio orchestra for recordings while the Pops and other light orchestras premiered live performances.

Images of sleigh rides like the 19th Century Currier & Ives engraving, and his own New England childhood memories inspired Leroy Anderson to write Sleigh Ride.

In 1950 lyricist Mitchell Parish wrote words which were first recorded by the Andrews Sisters.  Since then many artists have covered the vocal version.  Johnny Mathis sang the most popular on his 1958 Christmas album.  Parish’s original lyrics referred to a sleigh race to a “birthday party” but some performers including The Carpenters and Air Supply have altered that line to “Christmas party.”  The Ronettes with producer’s Phil Specter’s wall of sound arrangement made a version on their 1963 album which has gone on to regular seasonal air play as well.

                        Sheet music for the vocal version of Sleigh Ride with lyrics by Mitchell Parish.

Parish went on to write lyrics for several of Anderson’s other orchestral creations.

The American Society of Composers, Authors and Publishers (ASCAP) consistently ranks it as one of the top 10 most-performed seasonal songs written by ASCAP members and named Sleigh Ride the most popular piece of Christmas music in the U.S. in 2009–2012 including orchestral and vocal recordings, based on performance data from over 2,500 radio stations.

Anderson himself with his own Pops Concert Orchestra recorded Sleigh Ride on Decca Records in 1950 which became reached Cashbox magazine’s bestsellers chart when re-released in 1952.  Anderson’s version remains the most popular instrumental version based on holiday radio air play.

The 1959 album featuring Sleigh Ride.

But today we are featuring the conductor and orchestra who introduced and first recorded Sleigh Ride—Arthur Fiedler and the Boston Pops.  Together they made three recording of the piece in 1949, 1959 and 1970.  Fiedler’s successors John Williams and Keith Lockhart have also made multiple recordings with the Pops.  No matter the conductor the piece is a signature highlight of the Pop’s annual Christmas concert which broadcast every year on PBS stations.  It is as much a tradition with the Pops as their annual Fourth of July concert’s 1812 Overture timed to sync with Boston’s fireworks.

Sunday, January 3, 2021

The Wexford Carol—Murfin’s Carols for Corona and Winter Holiday Music Festival

                                                        The Wexford Carol by Yo Yo Ma with vocal by Alison Krauss.

Today is the last Sunday of the liturgical Christmas Season and so an apt time to dip into a really ancient Christian carol which covers the whole arc of the Nativity story from the arrival of Mary and Joseph in Bethlehem through the visit of the Magi.  The Wexford Carol is a traditional Irish carol from Enniscorthy in County Wexford.

The Wexford Carol, sometimes known by the name of the town of Enniscorthy or by its first line “Good people all this Christmas time.”  It is sometimes ascribed to the be from the early Middle Ages, but musicologists and folklorists now believe that it likely was composed in the 15th or 16th Century based on its musical and lyrical style.

The Gaelic at the bottom is two titles for Wexford Carol in the Irish language.

The oldest recorded lyrics were in Gaelic. William Grattan Flood, the organist and musical director at St. Aidan's Cathedral in Enniscorthy, transcribed the carol from a local singer and it was published in The Oxford Book of Carols in 1928.  From that it was included in many of the carol books printed around the world as well as some denominational hymnals.

Yet it remained a rather obscure song seldom performed, perhaps because it was originally circulated with the admonition that only male voice could perform it.  It began to have new found popularity when female singers including Julie Andrews in 1966 and Loreena McKennitt in 1987 defied tradition and recorded solo versions.  Notable choral versions include those by the English boy choir Libera in 2013 and the Mormon Tabernacle Choir three years later.

This album help rekindle interest in The Wexford Carol in Irish music circles.

The Wexford Carol has lately become more popular in Irish and Celtic music circles. The Celtic Women included it on their 2006 Christmas album and it was title track on the 2014 collection of traditional Irish Carols by the Irish early-music singer Caitríona O’Leary, with Tom Jones,   Rosanne Cash, and Rhiannon Giddens. Irish folksinger Cara Dillon featured the song on her 2016 album Upon a Winter’s Night.

Yo Yo Ma's collaboration with Alison Krauss was featured on his Christmas album.

Today’s rendition is a collaboration by country and roots music star Alison Krauss and cellist  Yo Yo Ma recorded for Ma’s 2008 holiday album, Songs of Joy and Peace.  Krauss forgoes her fiddle to sing ethereally.  The arrangement includes traditional Irish instruments including bag pipe, bodhrán drum, and finger chimes.

Saturday, January 2, 2021

Winter Wonderland Doris Day—Murfin’s Carols for Corona and Winter Holiday Music Festival

                                            Winter Wonderland sung by Doris Day.

Post New Year’s Day is a good time to share one of those holiday playlist songs that really have nothing to do with Christmas or any other seasonal fest.  Among the most common of these are the winter or snow songs—think Frosty the Snowman for kids, the seduction or date rape song (take your pick) Baby its Cold Outside, Snow from the movie White Christmas, My Favorite Things from the Sound of Music, and of course Jingle Bells.  But the most popular of the more modern of those songs is Winter Wonderland.

Winter Wonderland was written by composer Felix Bernard and the consumptive lyricist Richard B. Smith.

The song was written in 1934 by Felix Bernard and lyricist Richard B. Smith. Since its original RCA recording by Richard Himber and his Hotel Ritz-Carlton Orchestra, it has been covered by over 200 different artists, including Bing Crosby, Dean Martin, Johnny Mathis, Frank Sinatra, Amy Grant, Michael Buble, The Eurythmics, and Radiohead.

Smith’s lyrics were reportedly inspired by memories of his hometown Honesdale, Pennsylvania park freshly buried in snow but were written while he was being treated for tuberculosis in the West Mountain Sanitarium in Scranton.















Children played in Central Park in Honesdale, Pa., across the street from Richard Smith’s childhood home, which inspired him to write Winter Wonderland.

Among the most notable covers were by Johnny Mercer which reached #4 on the Billboard radio play chart in 1946 and by Perry Como the same year which was in the top ten songs in retail sales.

                        The song was featured in Billie Burke's unsuccessful attempt to revive her late husband Flo Ziegeld's Follies. 

Sinatra’s version is notable for changing the lyrics.  Despite the earlier success of the song, Sinatra was warned that powerful protestant clergy were prepared to demand that radio stations ban the song because of the line “In the meadow we will build a snowman/We’ll pretend that he is Parson Brown/He’ll say ‘are you married?’ We’ll say no man/But you can do the job when you’re in town.”  The preachers were alarmed that the words implied hanky-panky by the unmarried coupleOld Blue Eyes changed the word to the nonsensical “In the meadow we can build a snowman /And pretend that he’s a circus clown/We’ll have lots of fun with Mr. Snowman/Until the other kiddies knock him down.”

Some other later covers of the song used Sinatra’s version while other stood by the original words.  Some even used both versions.

Doris Day in the early 1950s.

Today we will share a version by former big band singer turned movie star Doris Day.  The video clips accompanying her singing are from two popular nostalgia fests she made opposite Gordon McCrea, On Moonlight Bay  in 1951 and By The Light Of The Silvery Moon  in 1953. 

Friday, January 1, 2021

Russian New Year’s Song—Murfin’s Carols for Corona and Winter Holiday Music Festival

                A Russian New Year's song from 1950's Soviet era film Carnival Nights sung by Lyudmila Gurchenko. 

As we noted yesterday, no one celebrates New Year’s more intently than the the Scotts except perhaps the Russians and residents of several other former states of the USSR but for quite different reasons.  Christmas, celebrated by the Russian Orthodox church on January 7 by the Western Gregorian calendar and all other religious observations were banned by the Communist government following the Russian Revolution.  Eventually under Josef Stalin all “non-patrioticholidays or those glorifying Lenin and revolutionary events were also scrubbed, including a well-established New Year’s tradition.  In 1935 after the failure of the most recent Five Year Plan, regional crop failures and famines, and the spreading influence of the world-wide Depression New Year’s was grudgingly acknowledge by Soviet to give Soviet citizens a glimmer of brightness as the bitter Russian winter closed in.

Tsar Peter the Great moved Russian New Year from September 1 to January 1 to conform his Empire with the European Julian Calendar. 

Russia had a long New Year’s tradition.  From 1492 until a December 1699 decree of Tsar Peter I mandated the adoption of the Christian Era in 1700 September 1 was the start of each new year.  Like many agricultural peoples the Russians considered the celebration of the harvest as an auspicious beginning.  According to the decree of Western and modernizing Peter the Great, the Russians had to decorate their houses with a fir tree, as it was done by the Germans between New Year’s on January 1 and Christmas on the Julian Calendar. But Slavs correlated the fir tree with funeral rites which is why there was long resistance to the new customs, especially among the deeply culturally conservative class of serfs—the vast majority of the population.  The peasantry held many different customs according to regions, but were generally allowed a holiday from their service to their feudal lords during the holiday period.

The Russian nobility and aristocracy celebrated the New Year with great balls like this one at the Winter Palace in St. Petersburg. 

As for the nobility, aristocracy, and a small but growing class of wealthy merchants, they celebrated with glittering balls—think of pre-Napoleonic invasion scenes from War and Peace.  All of that, of course, came to a screeching halt with the Bolshevik Revolution and subsequent Civil War.  In 1918 the Supreme Soviet officially abandoned the Julian Calendar of the Tsars and Orthodox church synchronizing New Years with European calendars.

After the grim years of World War II—the Great Patriotic War to the Soviets, it became a holiday in 1947.  At first there was no paid day off, but that soon fell in line with other holidays.  In the post-Soviet era the Russian Federation followed by most non-Muslim former Soviet republics declared Novy God—New Year’s Eve and Day—a major public holiday in 1999.  Under Vladimir Putin Russia has reconciled with the Orthodox Church and relied on it as a pillar of his Russian nationalism and vision of a restored Russian Empire or Soviet Union.  He has recognized Orthodox Christmas, still celebrated on the Julian Calendar date, and the whole week between New Year’s Day and the Feast of the Nativity is taken by many as an extended winter holiday.

Ded Moroz--Grandfather Frost--and his granddaughter Snegurochka deliver children's toys in a Troika.

Given an inch Soviet citizens ran with the opportunity and took a mile.  Plucked from some folk tales and children’s books the Santa Claus-like figure of Ded Moroz—Grandfather Frost—was  soon bring toys to children on New Year’s morning or distributing them a houses of culture, theaters, or other public buildings with the aid of his granddaughter Snegurochka—the Snow Maiden.  Some of Ded Moroz’s costume and characteristics borrow not only from Western Saint Nicholas, but from pagan Siberian shaman figures associated with the Winter Solstice.

                                    A fancifully elaborate costume for a traditional Siberian Winter Solstice shaman.

Ded Moroz wears a heel-length fur coat, a fur hat, and valenki—warm felt boots—and has a long white beard. He walks with a long magic stick and often rides a troika sleigh.  Snegurochka wears long silver-blue robes and a furry cap or a snowflake-like crown.

New Year’s Eve the beginning of the celebration is marked by the Kremlin Clock striking midnight preceded by the New Year Address by the President of Russia—Putin—and followed by the playing of the Russian National Anthem.  Fireworks displays over Red Square and in most large cities attract large crowds. Of course this year most public gatherings are discouraged or banned due to the Coronavirus pandemic.

Novy God fireworks over Red Square and the Kremlin.  After the Kremlin clock strikes midnight.

On New Year’s Day evening a popular TV spectacular, Novogodni OgonekNew Year’s Party or New Year’s Light) includes performances from favorite pop singers and dance troupes with famous personalities and celebrities as presenters and is widely viewed in most of the countries of the former USSR.

Today we are featuring a New Year’s song from a hugely popular Russian musical comedy film—yes there really are such things—Karnavalnaya noch (Carnival Nights) made in 1955 in the post-Stalinist era and the Khrushchev Thaw.  It was the Soviet box office leader of 1956 with a total of 48.64 million tickets sold and remains a highly popular New Year’s Eve classic perennial broadcast publicly that night much like It’s a Wonderful Life or Christmas Story are annually shown on American TV.

A poster for the 1956 Soviet era New Year's film Carnival Nights.

The plot revolves around a Novy God program being planned by members of a House of Culture lots of dancing and singing, jazz band performance, and even magic tricks. The director of the House of Culture is suddenly replaced by a plodding Stalinist party functionary who tries to scrap the gay plans and replace them with a serious and grim evening of uplifting lectures, political discussions, and some classical music performed by an orchestra of limited talent made up Red Army pensioners.  The planners and performers of the original event scheme to sabotage the new director’s plans and keep him from the stage so that the original show can go on.  Small wonder that the story resonated with many Russians.

Lyudmila Gurchenko in Carnival Nights.

The nominal star of the film was comedian Igor Ilyinsky the hapless party functionary.  But 21-year-old Lyudmila Gurchenko in her first film role shined as the program’s lovely singer and a main organizer of the plot.  In this clip she sings a New Year’s song the title of which I cannot find in English.  Enjoy anyway.