Category: News

Austin-based label Keeled Scales have announced a new compilation, arriving in October, celebrating and benefiting Athens, Georgia nonprofit Nuçi’s Space, a mental health resource center for musicians that also provides low-cost practice spaces and gear rentals.

Among the participants are (in alphabetical order): Anika Pyle, Anjimile, Annie Hart, Bachelor, Big Thief’s Buck Meek, Cassandra Jenkins, Eve Owen, Flock Of Dimes, Fontaines D.C., Ganser, Good Looks, Julia Lucille, Kate Bollinger, Katy Kirby, Lunar Vacation, Maple Glider, Momma, Moriah Bailey, Nana Lourdes, Night Palace, Odetta Hartman, Pylon Reenactment Society, Rae Fitzgerald, Sloping, Sylvan Esso, and Tyor, with more to be announced on September 16. According to a release, the compilation will consist of demos, live and alternate takes, radio recordings, rarities, and covers from “musicians supporting musicians.”

By pre-ordering the compilation, listeners will get access to Ganser’s contribution, “Told You So (Live @ Altered States).” Here’s what Nadia Garofalo of Ganser had to say about Nuçi’s Space: “Every musician we know, ourselves included, have struggled one way or another with mental health over these past eighteen months. Resources like Nuçi’s Space are essential to the lifeblood of the music community as a whole,”

The full Nuçi’s Space benefit compilation drops 10/1 via Keeled Scales. Pre-save it here.

Little Simz’s album, Sometimes I Might Be Introvert, arrived last night after a months-long rollout. That rollout included videos for “Introvert,” “Woman,” and “I Love You, I Hate You,” as well as her US television debut on The Tonight Show to perform “Woman” and her NPR Music Tiny Desk Concert debut, where she premiered the Afropop-inflected single “Point And Kill featuring London-based Nigerian artist Obongjayar. Today, along with the album, she released a groovy video for “Point And Kill” to accompany the album.

In the video, Simz takes a trip to Nigeria, her parents’ homeland, to tour the countryside, encountering a diverse cast of characters, including weightlifting macho men and church-going aunties. The video culminates in a very stylish club scene, seeing Simz and Obongjayar grooving in a small club full of people dressed in retro-chic ensembles. The overall vibe is very Queen & Slim, especially in the closing scene, which finds Simz and Obongjayar surrounded by armed police officers all pointing their guns at him as she defends him with a machete. The video ends on this ambiguous note, giving viewers plenty to ponder — much like many of Simz’s other videos.

Watch Little Simz’s “Point And Kill” video featuring Obongjayar above. You can catch Simz live at End Of The Road in Dorset this Sunday.

Sometimes I Might Be Introvert is out now via AWAL Digital Limited. You can check it out here.

September is here, and the 2021-22 NBA season technically begins this month. Granted, that “beginning” is simply the start of training camp, but the offseason is short and there is a lot to discuss. There is great attention to be paid to the top of the league but, on a team-by-team basis, season win totals are of considerable intrigue for both casual and die-hard observers.

In this space, we’ll take a glance at the Northwest Division, with five interesting situations to monitor. For clarity, each line below comes from the good folks at DraftKings, and they will arrive in alphabetical order.

Denver Nuggets Over 47.5

The Nuggets won at a 54-win pace a year ago, with Nikola Jokic zooming to the MVP award. The biggest factor in this number being considerably lower is the absence of Jamal Murray, who played 48 games last season. That injury obviously hurts Denver, but Jokic is fantastic, the Nuggets get a full season of Aaron Gordon, and players like Michael Porter Jr. could be in line for a jump. This isn’t a slam dunk over without Murray, but Jokic is reliable and this is a high-floor team.

Minnesota Timberwolves Over 34.5

Minnesota was the equivalent of a 26-win team last season. If you go by their offseason activity, it would seem (quite) odd to project at least a nine-win uptick, but this Over is based on internal improvement and a coaching upgrade. Chris Finch did a quality job, albeit in a small sample, when he took over, and the Wolves should see obvious growth from Anthony Edwards. Then, Karl-Anthony Towns and D’Angelo Russell combined to play only 92 games, and Malik Beasley played only half the season in his own right. Patrick Beverley will help too and, while I wouldn’t be running to bet this, 35 wins seems reasonable.

Oklahoma City Thunder Under 23.5

If the Thunder really put their foot on the gas, they’d probably beat this number. There is nothing to indicate that will happen. OKC is still in full-blown rebuilding mode and, with the exception of Shai Gilgeous-Alexander, there isn’t a lot to latch onto at this stage. The Thunder will probably let Josh Giddey play through some mistakes on the floor and, while his upside is high in the future, it could be ugly this season. This feels like a team that will be on pace for 25+ wins until February, and then a long lull could be in the offing.

Portland Trail Blazers Under 44.5

Warning: Stay away. With full confidence that Damian Lillard would be on the team all season, this would be an Over lean, and the number would probably be higher to boot. Without that assurance, the Blazers are really a stay-away. Portland routinely outperformed expectations, at least in the regular season, under Terry Stotts, but there is a new era in place with Chauncey Billups. The addition of Larry Nance Jr. was a sneakily positive one, but if you made me choose, the potential volatility would make me pessimistic.

Utah Jazz Over 51.5

The bookmakers didn’t make it easy on Utah backers with a pretty lofty number, but it’s not quite high enough. Even if you don’t think the Jazz will fully repeat last season, they won at a 59-win pace and their point differential was that of a 62-63 win team. Utah is built beautifully for the regular season, and the swap of Derrick Favors for Rudy Gay may even be a positive. Throw in the fact that both Donovan Mitchell and Mike Conley missed some time last season, and I can’t lean anywhere but Over. Don’t let the playoff struggles bother you when it comes to a regular season projection.

Ivan Reitman’s Stripes recently celebrated its 40th anniversary with a limited run in select theaters, which was my initial excuse for a rewatch, though it turned out to be relevant in other ways.

Admittedly, Stripes isn’t a movie that I’ve thought about much in the four decades since its release. It’s been eclipsed in the cultural memory even by its SNL-vehicle peers of the same era — Animal House (1978), Caddyshack (1980), Blues Brothers (1980) National Lampoon’s Vacation (1983), and Ghostbusters (1984). Stripes existed more for me as a “boob movie” than a comedy, joining Revenge Of The Nerds on the list of “VHS tapes to put on when the parents were distracted” and emblematic of an era when comedy and full frontal nudity were strangely inextricable (almost certainly the legacy of the National Lampoon, the dominant comedic force of the era).

Under the circumstances, rewatching Stripes in 2021 is at least partly an anthropological endeavor. Certainly, it’s a classic boob movie for boys of a certain era. But is it more than a boob movie?

Bill Murray and Harold Ramis headlined in an era before Bill Murray had fully emerged as a movie star. Ghostbusters was probably the turning point, with Murray fully coming into his own in the late 80s/early 90s, with the string of Scrooged (1988), What About Bob? (1991), and Groundhog Day (1993). Before that, his cinematic output was decidedly mixed, with movies like Meatballs in 1978 (barely watchable today) and Where The Buffalo Roam in 1980, Murray’s weird, bad take on the Hunter S. Thompson mythos that probably came out a decade too early.

In Stripes, Murray was famous, but still more of a “star in the making.” Initially, it wasn’t even written as a Murray vehicle. According to Reitman, the script for Stripes began as an idea for “Cheech and Chong Join The Army.” Reitman sold it as such, but Cheech and Chong themselves ended up wanting too much creative control. The project was rejiggered for Murray and Ramis, who don’t especially seem like weed guys, though the finished product retains in many ways the feel of a loosey-goosey stoner comedy. It’s of a piece with boomer comedy touchstones like Animal House and Caddyshack — whether you find them subversively anarchic or just sort of half-assed is sort of in the eye of the beholder. For me it’s a bit of both; sometimes it feels like they were onto something, other times it just feels like they were just on something.

Stripes stars Murray and Ramis as John and Russell, two buddies living in New York City, working as a cab driver and an English-as-a-second-language teacher, respectively. Murray’s model girlfriend, played by Roberta Leighton, shows up just long enough to walk around their apartment topless before breaking up with John on account of he’s too much of an incorrigible slacker. It is, yes, part of a pattern of women being treated as largely ornamental in Stripes. It’s mostly just a product of its time, though arguably much lower on the problematic scale than, say Revenge Of The Nerds (the pseudo rape scene) or even American Pie (filming the exchange student changing for laffs).

“It’s just not that cute anymore,” John’s girlfriend tells him, about his slacker ways.

“…It’s a little cute,” John teases.

Carefully maintained insouciance has been Bill Murray’s calling card basically since the beginning of his career, but he was still limited as an actor at this stage. It wasn’t until his slightly melancholy interior began to seep through his blasé exterior and humanized the whole that he developed the range we know and love him for now. Early on, and especially here, Murray’s aloofness is more like an impenetrable shell. Comedically-speaking, it mostly works, vaguely arrogant as it is, but it’s hard not to identify with the people in the story who get fed up with John’s shit. 40 years have sapped the “lovable asshole” character of much of its novelty value.

John decides to join the army on a whim, figuring it’s the only way to give his life some direction (and maybe get chicks in the process). He convinces his pal Russell to go along with it. Russell’s motivation here is a little thin, but I suppose the idea is that he can’t resist his old aloof pal, John. Anyway, no need belaboring an obvious contrivance. There’s a brief, funny scene at the army recruitment office, where the recruiter asks whether John and Russell are homosexuals.

JOHN: “You mean, like, flaming?”

RUSSELL: “No, we’re not homosexual — but we’re willing to learn.”

JOHN: “Yeah, would they send us someplace special?”

Credit to Stripes for writing a gay joke that’s still funny and relatively unproblematic 40 years later.

After that, John and Russell are off to basic training, joining a rag-tag group of enlistees that includes John Candy as “Ox” (the fat guy) and Conrad Dunn as Francis, who demands to be called Psycho. “Anyone calls me Francis, I’ll kill ya,” he tells the group. Which sets up arguably Stripes‘ most enduring line: “Lighten up, Francis.”

It’s hard to tell whether the Army was drastically different in 1981 or if Reitman and Murray were just applying what they’d learned on Meatballs, but Stripes‘ depiction of the Army is a lot like a glorified Summer camp, complete with gettin-to-know-you games played in a circle. It’s hard to imagine R. Lee Ermey standing for this.

John and Russell join what is, essentially, the Bad News Bears of Army units. Sergeant Hulka, played by veteran western character actor Warren Oates, is the acting standout, giving weird depth to what could easily have been the stereotypical “hardass drill sergeant” character (see: Ermey, R. Lee). Yet like John’s girlfriend, you end up weirdly identifying with Hulka, or at least bits of him, trapped as he is between his impenetrably insouciant new recruits and a sexually deviant commanding officer, played by John Larroquette. Larroquette’s Captain Stillman wears an ascot like a dandy while spying on women showering through a telescope (this scene, along with the later mud wrestling interlude, being most of the reason Stripes was “a boob movie”). Not enough “effeminate, megalomaniacal general” characters in comedy these days, I always say.

Eventually, Larroquette’s character inadvertently takes out Oates’ with an errant artillery shell, leaving the Bad News Bombardiers without a leader a week before the big drilling parade. Returning to the barracks after making love to some sexy MPs, played by Sean Young and PJ Soles, John and Russell find their compadres dejected and ready to quit. He gives them a Blutarsky-esque pump up speech — “We’re the US Army! We’ve been kicking ass for 200 years! We’re 10 and 1!” — and they stay up all night practicing. They show up late to the next day’s parade, not in dress uniforms, but stepping and marching and chanting with the panache and unity of a fraternity at a traditionally black university. Stripes clearly came from the Blues Brothers era, when white guys simply singing or dancing was its own joke, no funny lyrics or context required. For me, it doesn’t quite land as a joke or a believable situation, but it’s pleasant enough.

The team’s surprisingly good performance at the gun dancing competition wins them a trip to Italy, to debut the new “EM-50 urban assault vehicle” (basically an armored RV) at a military trade show. They go AWOL touring Europe with their girlfriends and end up having to rescue their unit from Czechoslovakia. Just as with Full Metal Jacket, Stripes loses a lot of steam after basic training. Perhaps it’s just an eternal truth, that the idea of joining the military is much more intriguing than actually being in the military. Just ask anyone in a patriotic t-shirt about the time they almost served.

Most of the value of Stripes in 2021 is what an anachronism it is. Not just for the bare breasts and white guys singing, but for the depiction of American Empire at arguably its greatest period of calm in 100 years. We had pulled out of Vietnam years earlier and Ronald Reagan, the famous Cold War revivalist, had only been president for about six months. The idea of Czechoslovakia as “enemy territory” is funny now, but even the movie itself acknowledges the silliness of it (“Russell, come on, it’s Czechoslovakia,” John says after Russell suggests rescuing the unit). The movie is necessarily patriotic in certain ways, its protagonists being Army recruits who have to “save the day” after all. In fact, it was even made with the full cooperation of the US Army, and shot on an actual Army base, which is amazing to think about in and of itself.

Yet even Stripes‘ patriotism is heavily tongue-in-cheek. John’s remark about “we’re 10 and one!” in the middle of his pump-up speech, for example. The whole movie is suffused with the idea that the military is this weird relic of olden times. “What does the military do now, anyway? March around twirling their guns and going to glorified car shows? Join the Army? Gosh, what a silly idea!”

As Reitman told an Army reporter earlier this year: “I felt like it was time for another service comedy. We were in peaceful times, it was post-Vietnam, and I thought it would great to have some comedic look at the Army that would not be another protest movie. Those had been a staple of Hollywood.”

Though it’s certainly not “a protest movie,” as Reitman puts it, Stripes still feels subversive to modern eyes, which probably says more about the social climate in which it was created than the creators’ intentions.

As someone who spent a decent portion of my formative years in the post 9/11 years, when even your high school marching band t-shirt probably had an American flag on the back, it’s refreshing, almost shocking, to see the military not treated with that kind of post-W Bush-era reflexive deference. Even before 9/11, I remember a guy loudly saying “that’s treason!” at the screen while his girlfriend tried to shush him during the scene in Saving Private Ryan in which the weenie translator frees his German prisoner. That was in 1998. Even in 1994’s In The Army Now, which shares the same basic slackers-join-the-Army blueprint as Stripes, and was released in the relative lull between Gulf Wars, the comedic emphasis was more on Pauly Shore’s fish-out-of-water persona. Where Stripes is about two average-ish Joes joining the military, In The Army Now is about a wacky weirdo joining the military. John and Russell don’t really change that much, mostly they change the military.

Stripes is weirdly refreshing in this way, not because I desperately needed to see the military disrespected, it’s just that only a vanishingly small portion of my life was ever spent with the US not actively engaged in a war, proxy war, or pseudo war somewhere. And with the advent of the all-volunteer Army, that fake deference is mostly all we ask of our citizenry in times of conflict. (One joke in Stripes is that the unit’s dumb guy joined up because “I was going to get drafted anyway,” not realizing that there wasn’t a draft anymore).

The volume was turned way down on world affairs in Stripes. Rewatching it 40 years later, it’s animated not so much by nostalgia for movies that they don’t make like this anymore, but by a yearning for a world that didn’t seem so relentlessly serious and apocalyptic.

Vince Mancini is on Twitter. You can access his archive of reviews here.

It’s been almost exactly three years since Nicki Minaj told her fans she would be retiring from music to focus on starting a family. While Nicki’s retirement wasn’t exactly permanent, the rapper still took time off of music to focus on having her first child with her husband Kenneth Petty. Ever since, rapper has clearly been loving watching her baby reach all of his developmental milestones, like his first-ever words.

Nicki has yet to tell her fans what her baby’s real name is, but she affectionately refers to him as “Papa Bear.” The rapper took to Instagram to give some updates about the 11-month-old, revealing that he just said some of his first words. Thankfully, the whole thing was caught on camera — and it’s about as adorable as it gets.

The video shows Papa Bear sitting on Nicki’s lap next to his father. Nicki keeps coaxing Papa Bear to speak, waving his arms at the camera. The baby then clearly says the word, “Hi,” which sends Nicki over the moon as she gasps in excitement.

In other Nicki news, the rapper briefly appears on a track from Drake’s anticipated Certified Lover Boy album. Nicki’s voice sample is featured on the track “Papi’s Home,” a collaboration fans had been looking forward to since Nicki hinted that Drake was in her studio a few months ago.

For some who are terminally online, the phrase “Hubby started running fever. I have the paste” may go down as one of the most haunting moments of a deadly pandemic stretching ever closer toward its second full year. It hasn’t been great, but at this point, if you’re a fully vaccinated person following best social distancing practices and using masks, there’s really not much more you can do to help those who cannot help themselves.

Which is why the rise of anti-vaxxers using an animal dewormer called Ivermectin is so baffling to watch from afar. Through a series of far right grifts, the animal medication has become an object of obsession from people who believe the entirely unproven claim that the “horse paste” can prevent or cure coronavirus. In some places, people are overdosing on the paste that’s not properly dosed for humans, and even Joe Rogan is downing the paste to stave off his own COVID-19 infection.

The Daily Show is certainly not afraid to seize upon weird right-wing phenomena and make fun of it. Recently, the show has advertised a fake law firm for Capitol rioters. And on Friday, that fake commercial trend continued with an ad for an even “more effective horse medicine” to use instead of just, you know, getting a vaccine.

“The only COVID vaccine designed specifically for horses,” the ad reads, which is a willful misunderstanding of why anti-vaxxers are looking for any solution to coronavirus but the vaccination designed for humans.

Videos like these do nothing to actually end the pandemic, but they do cast a stark light on the lengths people will go to avoid following best practices because of their conspiracy-addled brains. But maybe, just maybe, it’s a kernel of a good idea for vaccine marketers if things stay as bleak as they currently are.

It’s no secret that Drake and Kanye West haven’t been on the best of terms in the last few years. Both men released albums just a week apart whose primary rollout strategies seemed to consist mostly of the two trying to out-troll each other (which kinda worked, considering the streaming numbers and Twitter chatter both have generated so far). Meanwhile, it’s also pretty widely accepted that Jay-Z is one of if not the greatest of all time in rap, so scoring an appearance from him is tantamount to having Michael Jordan bless your hoop career.

So it’s pretty funny that both Donda, which dropped last week, and Certified Lover Boy, which came out earlier this morning, both prominently feature verses from the Brooklyn business mogul, despite Kanye and Drake fighting like two cats in a sack for the past several months (or rather, sniping at each other like Love & Hip-Hop cast members at a reunion special, take your pick). At least, the denizens of Rap Twitter seem to think so, breaking out the jokes and the memes to point out Hov’s split loyalties.

Interestingly enough, the situation is somewhat similar to one involving two of these personalities nearly 20 years ago. Kanye once found himself bridging the gap between Jay-Z and his erstwhile rival Nas at the height of their feud over the “King Of New York” title, producing beats for both men’s albums including the infamous “Takeover” diss from Jay to Nas. Perhaps Jay sees himself playing the vital role Kanye played back then, having the age and experience to make amends with Nas in the meantime (although you could argue things haven’t always been exactly peaceful between them). Who knows? Until then, have a laugh at some of the many, many Twitter jokes about the situation below.

The Killers are fresh off the release of Pressure Machine, their second album in under a year. Last night, they brought a slice of the concept album to The Late Late Show with their pre-taped performance of “In Another Life.”

Ahead of the performance, Brandon Flowers took some time to chat with James Corden. Of Pressure Machine, he said, “These are a different type of song. People are accustomed to hearing big anthemic songs from The Killers, and we feel that pressure when we go in the studio, to deliver and to keep people in the seats at the arenas and the stadiums. And so when everything got shut down, these other songs, in this silence, were able to bloom that otherwise would have been to quiet to compete with your typical Killers song.”

He also noted of “In Another Life,” “I think a lot of people can identify with thinking about those moments in your life and these decisions you made, and they may have seemed micro, but you wonder how big they ended up being and what road they led you down. I think that that’s really where this came from, and me wondering, had I not left… there’s been so much made about The Killers being from Las Vegas, but I spent so much of my formative years in this little town in rural Utah. You wonder about what your life would have been like had I stayed.”

Watch clips from The Killers on Corden above.

Pressure Machine is out now via Island Records. Get it here.

In a solid move that proves he takes the health and safety of his fans seriously, Patton Oswalt has pulled four dates from his upcoming comedy tour after venues refused to put COVID restrictions in place despite the continue rise in cases from the Delta variant. Oswalt wanted proof of vaccination and a recent negative test before allowing audiences to enter, and while most venues complied with the reasonable request, others did not.

“I’ll give you one guess as to which state it was,” Oswalt said in an Instagram video announcing the canceled tour dates. While that state was, of course, Florida, it wasn’t the only one. Oswalt also had to pull a show in Salt Lake City, Utah. Via Variety:

“This difficult decision was made due to the rising numbers of COVID cases. I have an ego but my ego is not big enough to think that people should die to hear my stupid comedy,” the performer said. “Hopefully in the future we can rebook those, when sanity holds sway again.”

You can Oswalt’s Instagram video below:

For anyone planning to catch “Patton Oswalt Live: Who’s Ready To Laugh?” comedy tour and live in the affected states, here are the dates that have been pulled:

12/27 – Fort Lauderdale
12/29 – Orlando
12/30 – Clearwater
1/7 – Salt Lake City

If you’d like Patton to return to your city, get the jab and mask up until the cases go down. It’s that easy.

(Via Patton Oswalt on Instagram)

Training camps will open across the NBA in less than one month. That may seem wild given that Summer League concluded only two weeks ago in Las Vegas, but the league is in the midst of another shortened offseason and the bright lights will come on in the very near future. One of the staples of the offseason is the discussion (or argument) about where teams might fall in the standings, and die-hards often use season win total over/under projections as a baseline for this exercise.

To that end, it is time to go over or under on each team in the Southwest Division. For record-keeping purposes, each line below comes from the folks at DraftKings and they will come to you in alphabetical order.

Dallas Mavericks – Over 48.5

This isn’t a number that I love, in part because the Mavericks hired Jason Kidd. Dallas won at a 48-win pace a season ago, even with a rough start, a thoroughly underwhelming season from Kristaps Porzingis, and the knowledge that the swap involving Seth Curry and Josh Richardson ended in disaster for the Mavericks. That should forecast optimism, particularly with Luka Doncic as a leading MVP candidate and some reasonable moves on the margins with Reggie Bullock and the re-signing of Tim Hardaway Jr. As such, the Mavericks feel like an Over team to me, but that optimism is at least slightly mitigated by what I view as a marked coaching downgrade.

Houston Rockets – Under 27.5

Before we get to the ugly stuff, I’m excited about Houston’s future. Jalen Green looks the part of a future standout, Alperen Sengun is incredibly fun, Usman Garuba and Josh Christopher are quite intriguing, and the Rockets still have Christian Wood, Kevin Porter Jr. and others. The Rockets should even be fun to watch but, after a 17-win disaster a year ago, Houston isn’t going to be good and they have incentive to lose late in the season. Young teams are often bad teams. That’s good to remember amid the future-facing excitement.

Memphis Grizzlies – Under 41.5

The Grizzlies are another tricky evaluation. Memphis openly prioritized the future over the present, both with the trades involving Jonas Valanciunas and Grayson Allen, as well as the draft-night selection of Ziaire Williams. With that in mind, one could expect regression from a 38-34 record last year, especially when taking into account how good Valanciunas was for Memphis. On the other hand, the Grizzlies got only 11 games from Jaren Jackson Jr., and he was clearly limited even when playing. Jackson Jr. should help Memphis, but the organizational priority seems to aim beyond 2022 and the West should be competitive. I still don’t love it, but lean Under.

New Orleans Pelicans – Under 39.5

Which New Orleans team is real? Their 31-41 record would put them on a 35-win pace over an 82-game sample. Their point differential, however, is closer to a 39-or-40 win team. That is the starting point of this breakdown, but the Pelicans… might actually be worse on paper? New Orleans does upgrade from Steven Adams to Jonas Valanciunas, albeit at considerable asset cost, but the Pelicans downgrade from Lonzo Ball to Devonte Graham. Then, there is a clear unknown at head coach, and it isn’t as if their competition got worse. Zion Williamson and Brandon Ingram are good, but it’s tough to figure out the overall direction in New Orleans. That means an Under lean.

San Antonio Spurs – Over 28.5

If you haven’t seen the over/under for the Spurs, you’re forgiven for falling out of your chair. After making the playoffs in 22 straight seasons, the Spurs have now missed in back-to-back years, but San Antonio was still the equivalent of a 37-or-38 win team a season ago. Now, they are projected for a win total under 30? The Spurs do lose DeMar DeRozan, who was a key piece of their offense, but San Antonio does bring in very helpful vets in Thad Young and Doug McDermott (although Young could be on the move sooner than later). Those pieces, coupled with talent on the perimeter and the (very) important presence of Gregg Popoovich, leads me to the Over. They won’t be good, but they’ll be competitive.