ALVA present FAIR - HAIRED GUILLOTINE (Avant 1996)

INFO FREAKO:

Before John Zorn created the Tzadik label in co-operation with the famed jazz producer Kazunori Sugiyama, he curated the AVANT imprint, a sub-label of the DIW jazz label in Japan. Several Naked City CDs were released through that label as well as many others on which Zorn and many of his favourite "Downtown" players are on.

ALVA

"Using loud thoughts and small minds they play their instruments. And they laugh...On their debut album, the three mysterious enigmatic young girls known as Alva twist creepy savant-folk melodies out of chamber instruments, toys, tapes and voice, navigating the psychic territory of nightmare and the unconscious. Recommended for those who like it strange." Downtown Music

If this isn't one of the greatest albums ever made...then some other one probably is...weird...beautiful...creepy....oh yeah!...think The Residents....then think harder...





Alva - Mommy MP3
Alva - Clues From The Carousel MP3
Alva - Blue Uterus MP3

...phew!

"take her back to the table will ya?"

"The apocalypse is now!"

ALEJANDRO JODOROWSKY
(Film director. b. 1929)

"The apocalypse is now! Americans know this, that the only hope is the flying saucers. Do you know how I see the world? Like a person who is dying. It's a worm who is dying to make a butterfly. We must not stop the worm from dying, we must help the worm to die to help the butterfly to be born. We need to dance with death. This world is dying, but very well. We will make a big, big enormous butterfly. You and I will be the first movements in the wings of the butterfly because we are speaking like this." ~ ~ Alejandro Jodorowsky

"The revered underground film-maker Alejandro Jodorowsky once stated, "I ask of cinema what most North Americans ask of psychedelic drugs." Born in 1930 in Iquique, Chile, Jodorowsky had an enigmatic childhood before travelling to Paris in 1953 to study mime with Marcel Marceau. During the 1960s, Jodorowsky experimented with mimes and cartooning (his 'Fabulas Panicas Weekly' comic strip enjoyed a long run in Mexico), staging avant-garde performance art such as 'Sacramental Melodrama' (1964), a four hour play which combined religious themes and violence (later to become Jodorowsky themes). Together with French surrealists Fernando Arrabal and Roland Topor, he formed the 'Theater of Panic' (1962) which staged happenings and caused general mayhem.
In 1968, Jodorowsky made his directorial debut with the film 'Fando Y Lis', which reflected the psychological dislocation and socio-political upheaval enveloping Mexico.
However, it was 'El Topo' (1971) which catapulted Jodorowsky to cult status. Hailed by John Lennon as a masterpiece, 'El Topo' revealed Jodorowsky to be the cinematic heir to Salvador Dali and Luis Bunuel. The dreamlike imagery of 'El Topo' also suggested Jodorowsky's proximity to avant-garde film-makers such as Kenneth Anger and Maya Deren (it can be best described as a 'psychedelic western'). Jodorowsky wrote the script and soundtrack, handled direction, and starred in 'El Topo', adding to his notoriety.
His followup 'The Holy Mountain' (1974) continued an uncompromising exploration of primal atavisms and deeply spiritual imagery, often transgressive. Hollywood beckoned."

Here's the origianl trailor for The Holy Mountain
Please fasten your seatbelts...

"And then the hyperbolic weirdness erupted. There are many conflicting stories about Jodorowsky's ill-fated attempts to bring Frank Herbert's novel 'Dune' (1965) to the screen, but the cast of collaborators was incredible. Pink Floyd offered to write the score at the peak of their creativity. Salvador Dali, Gloria Swanson, and Orson Welles were cast. Dan O'Bannon was hired to supervize special effects; illustrator Chris Foss to design spacecraft; H.R. Giger to design the world of Geidi Prime and the Harkonnens; artist Jean 'Moebius' Giraud drew thousands of sketches. The project eventually collapsed in 1977, subsequently being passed onto Ridley Scott, and then to David Lynch, whose film (1983) was panned by audience and critics alike. Could Jodorowsky - master of profound mythological themes - have outdone George Lucas?
Jodorowsky's next film 'TUSK' (1978) languished in obscurity, and he spent six years developing the scenario for what eventually became 'Santa Sangre' (1989), a fiercely personal exploration of family dynamics, murder, and obsession. Critically well-received, 'Santa Sangre' led to a resurgence of interest in Jodorowsky's ouvre.
'The Rainbow Thief' (1990) is probably the most commercial project that Jodorowsky has done, although he hated working with Peter O'Toole. 'Viaje a Tul™n' (1994) and 'Abelcaim' (1999) show a welcome return to form. Jodorowsky has also published many novels and comic books, and his Vision continues to influence many artists who today explore the psyche's inner cartography, most notably Marilyn Manson. Love or loathe him, Jodorowsky is truly Underground Cinema's enigmatic 'lost' auteur." - Hot Wired

Script sent to George Clooney (Part 2)

WE ALL DIE BEING ARRESTED

By

THE SPINSTER TRIO

Scene 2:

Single third party payment. For duplicating realities pretend you're a giant and make girls. You can also enjoy new entertainment. You get the message? Let me try to divert you then you may need to use a torch or night vision goggles. I pride myself on how little I need material things. You’ll fuck a wine bar.


Trebus: Team together, who could work together properly and become close friends in Paris two years before the brain is not the slimmest of brains. Fashion the sound, but in the first place I was keen to discover the origins of this myth.

Richard: Gypsies? Romany don't live in huts like this, and besides, I though they were rounded up long ago. There was undeniably something can't take it anymore I just want out because of a perspective within the machine's memory.

Zoom past a stimulated planet approach a much larger definite schism between the commercial welding, she watched the lights both friends felt dizzy.

Judy: They asked me to play an old lady inextricably linked to the most innovative incident that frightened him off. Sick as I was for only twenty pounds, lucky punters can sample the delights of coitus in a brothel set-up in the back of the melted lamp rods. Virgil. I’m going to call for an ambulance. I feel the urge to explore a different territory.

Trebus: 5 leaves left is an impressive debut. Strike it big giant fag lighter.


Judy: I don’t regret anything the sex warts and all USA. The invite said bring a friend.

Trebus: Looks can be deceptive - he had a face, the crime shots you've never seen. Of course it seems real as your hands part. They are falling faster now. It made my head ache to count them.

Richard: You'd be better off opening up a cow. Please ring us - we're rusty - we'll all die.... all but me. I was keen to discover the origins of this myth. Maybe having to wear bright yellow t-shirts has stunned them in to a cold yellow state.

Trebus filled a fridge full. His parents, they went to take a look 2000 years of western civilisation has produced some fantastic cheese.

Trebus: Fair point. I slept that night. Thank you.


Epilogue

Trebus filled old running, a fridge full. This bar and its eccentric owner Stefan are renowned in Berlin. Must be what he remembered as a laugh.
"Do your remember anything fish about the old days?"
Where better than to appreciate Berlin’s beauty right in his pockets not in the first aid kits. Sisters. Family. The machineries of joy. About our mutual acquaintance. A work of near heroic vitality and cunning. The greatest gift we possess and some believe. I was feeling as relaxed as a piece of spaghetti cooked in wine. Others arms as you bend your forearms. Money to burn, cars, travel, health, food and drink, games, sport, competition - she had driven him crazier with each passing year saying things so he couldn't hear them. He was quite featured while lea coumbs pushes the brake boundaries. Schrodinger's plague started the engine and turned the rig round. Joe really did care about him and tried to do photography. He explained that puppets were not for children. So many people speak still. Blink and the mouths move. More wonderful by far than anything contained here in.


THE END

From the Guts of Bin Bags Pt. 2

Continuing my series on books found in five bin bags left in front of a relatively famous poet's flat in Glasgow is this little number:

GERHARD RUHM - ADELAIDES LOCKEN (Edition Hundertmark, 1979. A book with 48 pages, offset print, 14 illustrations and a epilog to a poem by Johann Heinrich Füssli, including an instruction by Dr. E.Ricke)



"Gerhard Rühm (born in Vienna, 1930) is a radical experimenter, a restless explorer of traditions and genres, atomizing their elements in order to recompose them with conceptual precision and a multiplicity of compositional techniques. He has worked with music and visual art, but basically the world is language for Rühm, the dictionary its body, and the alphabet its backbone.
He began by studying composition and Oriental music, but came to devote most of his energy to literature, esp. concrete poetry. Concrete poetry, as it has come to be called, involves an exploration of language where the "material" of the poem is privileged above all else. The "material" for the concrete poet involves the sonic quality via phonemes and syllables, as well as the visual and optic via letters. Through a direct exploitation of typography, white space, shapes, sound and the visual landscape of the page, concrete poets attempt to evoke sensations, concepts, and ideas, while also rejecting poetry of expression and subjectivity.
In the 1950’s Ruhm became one of the founding members of an avant-garde collective know as "The Vienna Group," a group of poets, musicians and artists who experimented with visual and phonetic forms. The work of Rühm, who has experimented with a variety of forms--constellations and ideograms, phonetic and counting poems, montage, photographic and other types of visual texts--is the most widely known. Rühm has been most concerned with maintaining an organic relationship between the visual and the conceptual as can be clearly seen in his graphic text "bleiben" ("to stay"). The act of writing the word by hand beside a fine white line on a solid black page conveys the message "stick with it" far more profoundly than any number of ordinary sermons on the subject of following your own little beam of light. In "und zerbrechen" ("and something breaks"), the breaking apart of the word after a series of monotonous "unds" creates an ideogram with psychological, sociological and formal implications. "I have avoided being purely illustrative in the graphic presentation of concepts," Rühm states. "Rather I try to establish a tension relationship between both dimensions (the graphic and the conceptual), so that one dimension does not simply support the other but completes it, or the optical form fixes a definite aspect of the concept." – compiled from Burning Deck, Electronic Poetry Review and Concrete Poetry – A World View.



LISTEN TO THE MAN!


Gerhard Ruhm - Hymne an Lesbierinnen (1956) MP3
Gerhard Ruhm - Blatter (1965-73) MP3
Gerhard Ruhm - The Bird of Paradise (1975) MP3

These tracks are taken from the 1978 compilation LP Futura Poesia Sonora (Cramps Records, Milan) . The most comprehensive anthology focused on past and contemporary sound poetry currents ever produced! Other artists featured on the LP include Filippo Tommaso Marinetti, Giacomo Balla, Hugo Ball, Tristan Tzara, Marcel Janco, Richard Huelsenbeck, Kurt Schwitters, Antonin Artaud, Henri Chopin, Bob Cobbing, Isidore Isou and many more.

The following image is from the found book and is one of 14 illustrations by Ruhm.

_Then On You One_

Human damaged confidence with a dissecting glance.
(Elitist, quixotic, derranged.) (Posthumanindustrial)?

Guise retorted with a factorial stare ( a morass of black and white lines)

What you looking at? How do you choose to look at me? I'll cut your face to ribbons.

Human formats the figure onto the page. It is such a excoriating, humane cut. Practical, unremitting, remorseless. Culled from a lurching galleon not far from here infact - remodelled for personal propaganda.

Confidence has information implicit in his clothing. Reading me write. Listening to me speak. A voice identifiable as mine. Observer, lover, voyeur. My half-known experience of you.

It never existed before. It just happened one day. I didn't think it up. It happened to me.

Your clothes have no past. No sexual identity, no complexities. I can see you (over there) in negative space - on the far side of the mirror - you are a writer who does not write. You circulate music on cassettes. You hear our voices not phrase by phrase, but by taping our voices simultaneously. Then you play-back.

Listen to his clothes! - in ( amorphous entirety.)


COLEYTYSIRHC.INC

The Mother of Experimental Films

MAYA DEREN (1917-1961)




"With the advent of 16mm equipment came the birth of film as personal artistic expression, and Maya Deren led the revolution. During the 1940s and 50s the woman who was "her own avant-garde movement," created some of the most hypnotic and beautiful experimental films ever made.

The epitome of Greenwich Village art house sensibility, Deren's film meditations featured such icons as Marcel Duchamp, Anais Nin, and John Cage in cameo appearances. Yet Deren realized that art film could be more than the citation of other art mediums or the manipulation of dancing shapes across the screen. She used her camera to explore questions of aesthetics from a place of inner, subjective reality. Deren’s first film, "Meshes in the Afternoon," signaled nothing less that the birth of American avant-garde filmmaking. Her movies are haunting, lyrical, and breathtaking fusions of human and cinematic movement, where the actors dance with the camera. Though called a heretic by those who worked with her, she was the first person to receive a Guggenheim grant for filmmaking and the first woman to receive the Grand Prix Internationale in avant-garde film at the Cannes Film Festival." - Art and Culture.

"Maya Deren's first film, Meshes of the Afternoon (1943) is one of the most influential works in American experimental cinema. A non-narrative work, it has been identified as a key example of the "trance film," in which a protagonist appears in a dreamlike state, and where the camera conveys his or her subjective focus. The central figure in Meshes of the Afternoon, played by Deren, is attuned to her unconscious mind and caught in a web of dream events that spill over into reality. Symbolic objects, such as a key and a knife, recur throughout the film; events are open-ended and interrupted. Deren explained that she wanted "to put on film the feeling which a human being experiences about an incident, rather than to record the incident accurately."

MESHES OF THE AFTERNOON (Part 1)


MESHES OF THE AFTERNOON (Part 2)


Made by Deren with her husband, cinematographer Alexander Hammid, Meshes of the Afternoon established the independent avant-garde movement in film in the United States, which is known as the New American Cinema. It directly inspired early works by Kenneth Anger, Stan Brakhage, and other major experimental filmmakers. Beautifully shot by Hammid, a leading documentary filmmaker and cameraman in Europe before he moved to New York, the film makes new and startling use of such standard cinematic devices as montage editing and matte shots. Through her extensive writings, lectures, and films, Deren became the preeminent voice of avant-garde cinema in the 1940s and the early 1950s." (MoMA.org)

To see more of her films go here:

http://www.ubu.com/film/deren.html

Script sent to George Clooney (Part 1)

WE ALL DIE BEING ARRESTED

By

THE SPINSTER TRIO

Scene 1:

Busy beating each other with 2 balls left, and only one in saunas. Blood thirsty to win. When partner land the navy in. yokels form a ring hit a glorious strike hit a yoyo, the terrifying power of life, Donald just stood (cows) females is unleashed. Met at the crease while arena and, as unlikely as it is toppled, some kind of unholy beddin begins. moooooo!

Richard: Arse hits the ground hard and I feel pang to end to the menace of my back. Jesus Christ. I stagger back poker, after a couple wrote too,

"AGAIN!” roars captain Tony.

Judy: Hard game of poker with one "AGAIN!"

Richard: Sit on the bed. Put your fag out friend, at around 9:50pm noticed a number of straight legs stretched out in frenzy lights for some minutes they moved off at right knee up and your foot flat, you've had an abduction experience. On your left knee, lean back and put your evening down a nearby footpath.

Judy: They heard a threaded undo your right leg. Marriage to sitcom star observed a number of translucent, smoky white didn't put a stop to his womanising than anything he had ever seen before.

Richard: "Not that old chestnut" said physicist Dr Adrian. I phoned him and all for the past 30 years, he fucking wouldn't. LISTEN, I've just been the undisputed king of it. An hour later, he was all apologetic 60's with his cheesy gags, cheesy grumpiness. "It this detox diet and cheesy hair". Tony's cheese like a cow. Now, this coin business the main inspiration for the fat velocity. This is weird. What about the Empire State building?

Judy: AND THIS IS WHERE WE REALLY GO FOR IT! Which is mine? I’d better switch that off.

At around to get the beans out of his bedroom window, he observed, feel that there is something waking his parents they went to take a look, but study of this book it's possible if anyone saw the same thing. "Stick it, as he was is being arrested. Or he officials whilst waving scaffolding at the front of his walking sticks.

Judy: Above have no choice but to watch chuffer!

Richard: Right on, mister from twelve feet above their heads. His chronic infantilism difficult and, according to one annoy the shite out the rest of so and so, who lived in abject but it don’t half get the ladies.

Judy: Trebus filled up his back all steamed up in their private several tips worth an utter quibble. And private parts belonging to such an extent that who fantasise about having an entire garden unusable with a boy scout.

Richard: Did you put the water in the freezer? Let us hope the eternal Trebus are remembered. Inclined to shout at council one of his many impressive head up your bloody.

Judy: Trebus, right on, his shorts with windows of biscuits aiming eyes full in a hardback format. Lucky punters can sample delights while he's the clever one, I’ll have a bit of that.

Both friends felt dizzy with full grizzly chest. His slick bowel performance made from blinding light. The cancer, eating MacDonald’s,'

Enter Trebus eating eyes full

Trebus: "we are all born free and we die being arrested of course."

I would go boldly down to combine the physiological fact that, as fat people get older the fat under their skin hides the stress lines that thin people are prey to - thank you. I’m buggering off. Sit on the bed. This is truly a crime against nature.

Extra strong mints. Index. Set up fee.


End of Scene 1.

Chris Burden's TV Ad

CHRIS BURDEN (b. 1946)

"Mention the name Chris Burden and you are likely to be asked, “Is he still shooting himself? In the 1970s, when artists such as Burden, Vito Acconci and Bruce Nauman broke free from societal restrictions, they attempted to shock the art world out of it’s commercial intransigence. In the tradition evoked by earlier Dadaists, they made the artist/spectator relationship crucial. But in pushing the boundaries of concept over form to the extreme, they outdid their predecessors." - Artscene

Burden’s first performance, Five-Day Locker (1971), was simple: he spent five days crammed into a two-foot by two-foot locker. The locker directly above contained a five-gallon supply of water and the locker below was an empty five-gallon container. For five days he remained in that confined space with no food, probably in a most uncomfortable situation.
For perhaps his best-known performance Shoot (1972), the artist had a close friend of his shoot him in the arm with a .22 rifle.



Other performances include Prelude to 220, or 110 (1971), where he bolted himself to the floor of a studio with copper bands. Close by on the floor were live electrical wires of 220 volts next to buckets filled with water. Should the audience choose they had but to dump the buckets over and electrocute Burden. A recorded voice taunted the audience.




Bed Piece (1972), in which he stayed in bed in a gallery for twenty-two days, cut off from all normal exercise, social activity, and food. The actual bed was on a triangular platform bulit into a corner of the gallery space 10 feet above the floor.

Transfixed (1974), in which he stretched his body along the roof of a Volkswagen Bug while a friend drove sterilized spikes through his hands anchoring him to the vehicle which was then pushed out into the street where traffic was obstructed briefly.

And the notorious Through the Night Softly (1973), which featured Burden, arms tied behind his naked torso, dragging himself over shards of broken glass. Amazingly, Burden actually turned this piece into a TV ad!

AND HERE IT IS:



"Put simply, his works are violence about violence. But more directly, his work forces viewers to question their passivity in response to violence. By confronting viewers with his life threatening and sensational performances Burden suggested that the public was becoming increasingly desensitized to violence. The exceedingly high-risk body works crafted by Chris Burden are a means of working through ideas, while attracting attention to the violence in our culture and the media, which seems to be in command of all it delivers.

While many performance artists of the 1970's created works that were deeply disturbing and often offensive, none pushed the boundaries of fear to the extent of Chris Burden. Although following a stranger through the streets or photographically documenting a terminal illness played on the insecurities and emotions of viewers as involuntary participants, Chris Burden upped the ante by putting himself directly in harms way to provoke extreme discomfort in observers." (info taken from Arted.Osu and Ubuweb)

To see film documetation of some of his early works from between 1971 and 1974 go here:

http://www.ubu.com/film/burden.html

This is a Scandal!

It is a strict rule. This involves two people. Souls as well as cheeks grow white in these sacred duties. The stories are taped. We will then always have excess. Please try and help me here otherwise some people will be upset when I change.
“Girl, I know exactly what you mean”, Natalie said. “Denzl and I had this great thing going until I woke up one morning and the slippery sonofabitch wasn’t there. Nor my CD collection, which as you can imagine TOTALLY freaked me. Losing him was one thing but losing Marvin Gaye?”
Talking about previous partners and relationships is a waste of time and mostly destructive. If you started the discussion don’t even think of bringing it up again. If a lapse of concentration was to blame, vow to keep focussed. Lobby for more beds. Get fit, stay fit. Pamper your face by massaging it with moisturiser. It’s so easily done, isn’t it? No conservatory? No worries! Breathe easily. Fits strips of draft excluder to windows. Live by the motto “ Everything in its place”. Don’t force yourself into a confusing situation. Enlist a friend’s help to make it seem more like a social engagement. Live the emotion and get carried away. Control those cravings. All this will cause you some stress but all you can do is go with the flow.

While we aim to maintain a high standard of service at all times, we acknowledge that there is always room for improvement and that problems sometimes occur. If you have a complaint, please let us know…

“I want a screensaver that reflects my violet tinged aura”

You’re crazy! This is a scandal!!

[Here he shows us a different kind of human empathy. Not so much disgust for the human condition, but pathos]

I fully expected to be hauled off to some forced labour camp as a punishment, and the only men queuing outside my door were the bailiffs. The upshot is usually exhaustion.

Needless to say, I was a zombie at work.
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From the Guts of Bin Bags Pt.1

While walking down a street in Glasgow last year I found five bin bags full of books dumped outside a relatively well know Scottish poet's flat. They were left out for the bin men (tut tut poet...have you not heard of charity shops?). Here's one of the gems I found within the blackness...

HENRI CHOPIN - CEOLFRITH 18 (published on occasion of the Henri Chopin Retrospective Exhibition held at the Ceolfrith Arts Centre, Sunderland, from May 12th - June 10th, 1972)




"Henri Chopin (born 1922) is an avant-garde poet and musician. He is a little-known but key figure of the French avant-garde during the second half of the 20th century. Known primarily as a concrete and sound poet, he created a large body of pioneering recordings using early tape recorders, studio technologies and the sounds of the manipulated human voice. His emphasis on sound is a reminder that language stems as much from oral traditions as from classic literature, of the relationship of balance between order and chaos. Since the end of the 50's has never ceased to defend the electronic explorations of the voice and the body, the grain of the voice, the vocal texture, the vibrations of the larynx, the labial snaps, and the hiss; first with the aid of the tape recorder, then, starting from the early 70's, by working in the best electronic music studios in Europe. A path extending from the exploration of the resonance of words, in 1956, to the new sound form of 1994, in collaboration with a cybernetic musician at Ircam, Marc Battier."

Henri Chopin - Le Ventre De Bertini (1967) MP3
Hneri Chopin - Indicatif 1 (1962) MP3

"Chopin is significant above all for his diverse spread of creative achievement, as well as for his position as a focal point of contact for the international arts. As poet, painter, graphic artist and designer, typographer, independent publisher, film-maker, broadcaster and arts promoter, Chopin's work is a barometer of the shifts in European media between the 1950s and the 1970s.
His publication and design of the classic audio-visual magazines Cinquième Saison and OU between 1958 and 1974, each issue containing recordings as well as texts, images, screenprints and multiples, brought together international contemporary writers and artists such as members of Lettrisme and Fluxus, Jiri Kolar, Ian Hamilton Finlay, Tom Phillips, Brion Gysin, William S. Burroughs and many others, as well as bringing the work of survivors from earlier generations such as Dadaists Raoul Hausmann and Marcel Janco to a fresh audience." Wikipedia + Michel Giroud

A scan from the book:

And here's the man himself in the flesh showing da kidz how to do it:

HENRI CHOPIN - Live in France 2005

WE'RE BORED. WE'RE ALL BORED NOW.

Clip from 1981 film ' My Dinner With Andre'...


"The film consists almost entirely of a long conversation between two acquaintances in a chic restaurant in New York City. It is based largely on actual conversations between the two actors, and covers such subjects as experimental theatre, the nature of theatre, and the nature of reality. The movie was filmed in the then-abandoned Jefferson Hotel in Richmond, Virginia."

Shark Story Of The Century

Talking about anxiety. It was a great experience and hopefully I’ll be involved in the next one. I’m holding on for dear life. I will never forget the image of my mother begging in the street. Why are those people just standing around? It’s a brutal introduction to the family. We walk on difficult ground. It’s just a process. Two bones broken and stretched. As long as young people feel they have got no hope but to blow themselves up, there is no hope. I think this is the ultimate game. What are they playing at? A cheaper way to get expert treatment? We will present the results of this poll. The name of the game is tolerance – up to a point. Bright as paint.
Should I intervene?
How can I help?
What action is best?
What’s it worth?
Can you fill me in?
The press has removed its kid gloves and now anything goes. My dog suffers from sore ears. How do I change bad habits? What’s the alternative? All that thrashing about makes them tire quickly and they hyperventilate. Our son, a paperboy, was kicked off for pushing a newspaper through a letterbox. Imagine my joy. Imagine my joy! The telephone call came as a complete shock. They put a mask on him so you couldn’t hear the screams. Are you in discomfort or pain? It’ll go away. Unfortunately the engine burnt out.

Raising an eyebrow the commuter remarked, “ Had a nice day I see.”
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