Damien Geter

MusicWatch Weekly: What (else) is going on?

ARCO turns up, Geter turns on, “Kevin” takes the night off

Last week we talked all about how everyone should be making albums right now, and hopefully you all nodded your heads and muttered, “hell yeah!” Okay, good, we’re happy to have you on board. You know what you can do to make that happen? You can support the artists who will make it happen–by supporting what they’re doing right now.

And what are they doing right now? Well, the big news on our desk today is ARCO-PDX performing Beethoven in Pioneer Square at 6:30 this Saturday evening (tomorrow!), playing for–ahem—whoever happens to be downtown just then, all while keeping distant in local artist Bill Will’s Polka Dot Courthouse Square installation.

ARCO says:

Thanks to technological advances, passersby will be able to enjoy the music either from their seats on the semicircular steps, or by weaving their way through the players for a one-of-a-kind immersive experience!

This is clearly the exact right ensemble for Polka Dot Square: among other things, the “amplified” part helps a ton when you’re not only outside but six feet away from the other players, and the “repertory” part helps when the point of the concert is not about building the repertoire but putting it to use.

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Music Notes: gone virtual

With so many performances going online, our news roundup follows suit with video and audio from Oregon musicians

With so many performances going online, our news roundup follows suit with video and audio from Oregon musicians for your home streaming enjoyment

Since we’re all streaming instead of attending these days, this latest edition of our irregular music news roundup accordingly boasts lots of  recent music related video and audio treats to tune into while we impatiently await the return of live music. And it’s replete with announcements of upcoming music seasons gone virtual. Since for the most part we can’t actually be there, we’ll just have to be square — or actually (checks screen dimensions) rectangular.

Double Dash offered a behind-the-scenes peek at the improvisational creative process.

However, live music is creeping back in occasional, socially distanced performances featuring a few musicians and spaced-out audience members. Last time, we told you about the Driveway Jazz Series (streamable socially distanced outdoor performances by top Portland jazz artists held in front of a bungalow in Southeast Portland, which continues every Friday at 4 pm), Boom Arts’s parking lot shows, and Eugene Symphony/Delgani Quartet cellist Eric Alterman’s solo recitals (featuring his own music and J.S. Bach’s) in a Eugene park. Now comes news that pianist Hunter Noack’s In a Landscape project and the Oregon Garden have each found ways to bring the music back to live. 

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Summer Streams

Chamber Music Northwest and Oregon Bach Festival lead parade of Oregon summer shows from onstage to online

Normally around this time, we’d be telling you all about Oregon’s two major summer classical music festivals, Chamber Music Northwest and the Oregon Bach Festival, both celebrating their 50th anniversaries this summer. But ‘normally’ scampered off awhile back, to return who knows when, if ever. So CMNW and OBF, along with many other festivals, orchestras, ensembles, and opera companies around the world that have turned to streaming live and/or archival video and/or audio as a substitute for suspended live performances. Anyone who’s been writhing in Zoom hell for the past few months knows that online can’t fully replace in-person experiences, but for now, all we have to do is stream, stream, stream. 

Screenshot from Chamber Music Northwest’s trio performance by Ida Kavafian, Peter Wiley and Steven Tenenbom.

Live and Archived

Beginning Monday, June 22 (the opening program is available through 11:59 p.m.Tuesday, June 23) and continuing through July 26, you can hear Chamber Music Northwest’s free Virtual Summer Festival, with three digital concerts appearing each week on Mondays, Thursdays, and Saturdays at 7 pm and available through the next day at CMNW.org and on Chamber Music Northwest’s YouTube channel. It includes a mix of five all-new streamed performances featuring some of America’s most distinguished classical chamber players, all longtime CMNW/Chamber Music Society of Lincoln Center vets who happen to be related by birth or marriage, and so able to perform together from their New York homes without fear of contagion — literally, hausmusik. The performances, prerecorded over the past two weeks, are preceded by introductions commentary by the artists.

Screenshot from Chamber Music Northwest’s Neubauer family concert

A baker’s dozen archived shows feature new music by some of America’s finest living composers (David Lang, Valerie Coleman, Kevin Puts and more), family-friendly fare both classic (Carnival of the Animals) and contemporary (Bruce Adolphe’s Marita and Her Heart’s Desire), a collaboration with Portland dance troupe BodyVox, a multi concert complete cycle of Beethoven’s magnificent string quartets by Austin’s Miro Quartet, a Peter Schickele tribute, an all-French concert, and a streamload of chamber classics from the 18th through 20th centuries — including a swan song starring longtime retiring artistic director and clarinetist David Shifrin.

Bright Sheng’s ‘The Silver River’ finally debuted at Chamber Music Northwest. Photo: Tom Emerson.

Top recommendation: the July 6-12 presentation of contemporary Chinese American composer Bright Sheng’s gorgeous chamber opera The Silver River, one of the coolest things I’ve experienced in my decades of attending the festival. And stay tuned for more previews by ArtsWatch music editor Matthew Andrews.

My Bach Pages

The virus crisis has also forced the University of Oregon’s Oregon Bach Festival to celebrate its 50th anniversary by streaming archival recordings to replace its canceled 2020 edition — essentially a half century’s greatest hits. Hosted by Eugene’s own golden voiced classical music announcer Peter van de Graaff, the Radio Festival will be broadcast live on KWAX FM (over the radio and its website) from June 26 through July 10 and feature one-time (no online archiving) OBF performances recorded from 1979 through last year  — its Bach catalog, as it were. 

Traditionalists will swoon over staples like Bach’s St. Matthew (June 26) and St. John Passions (July 3, featuring the incomparable bass-baritone Thomas Quasthoff), Monteverdi’s Vespers (July 1), Mozart’s Mass in C minor and Handel’s Messiah (June 29), Verdi’s Requiem (June 30) and so many more.

New music fans will welcome the chance to hear world premieres of contemporary commissions next month. Celebrated Scottish composer James Macmillan’s A European Requiem airs July 7, and Ralph M. Johnson’s short, sweet This House of Peace June 30, while the July 9 broadcast features selections from American composer Richard Danielpour’s The Passion of Yeshua (which debuted at the 2018 fest) and from Sven-David Sandström’s modern, moody Messiah update on Handel, along with the expansive Grammy-winning Credo by great 20th century Polish composer Krzysztof Penderecki, who died earlier this year.

Oregon Bach Festival co-founder Helmuth Rilling conducts a performance of Sven-David Sandström’s “Messiah” in 2009. Photo: Jon Christopher Meyers

You can also tune in to Quasthoff’s memorable, must-hear 1998 recital on July 8, in a segment that also includes festival fave pianist Jeffrey Kahane leading the OBF orchestra in Beethoven’s fourth piano concerto. Other concerts include Bach’s ever-popular Brandenburg Concertos on July 6 (a perfect intro for classical newbies and perennial for OG baroque fans), Mendelssohn’s delightful A Midsummer Night’s Dream July 2 and classics by Schubert, CPE Bach (June 30, from 2019, the most recent show), and, sprinkled throughout, cantatas by his dad, the festival’s namesake.

Most of these performances were conducted by the festival’s founding music director, Helmuth Rilling, one of the 20th century’s most respected Bach specialists. But the closing July 10 broadcast featuring maybe Johann Sebastian’s ultimate creation, the mighty b minor Mass, was conducted by Rilling’s successor, Matthew Halls. In that and the July 1 concert, he leads an orchestra of early music specialists playing on the instruments and in the tunings closest to what Bach intended — signaling Halls’s valuable transformation of the festival from so much older then, it’s younger than that now. So it’s at once the most historical performance in the lineup — and the most forward looking, and an excellent chance to compare Halls’ and Rilling’s very different approaches. We fervently hope the festival will continue the since-ousted Halls’s turn toward historically informed performances. 

Hands Across the Web

The pandemic diverted another significant Oregon contemporary classical music anniversary from live to streamed performance. Cascadia Composers’ 10th annual In Good Hands recital showcases talented student performers from the Eugene and Portland metro areas performing homegrown new solo piano music written by Cascadia Composers members David Bernstein, Daniel Brugh, Ally Rose Czyzewiez, Dianne Davies, John De Runtz, Adam Eason, Jan Mittelstaedt, Lisa Neher, Timothy Arliss O’Brien, Paul Safar and Nicholas Yandell. This excellent connector between contemporary Oregon music and the next generation of Oregon musicians streams live at 3 pm Saturday, July 11 and will be available on demand archived at Cascadia Composers’ web site.  

The organization was originally scheduled to be a big part of the annual New Music Gathering that this year was supposed to happen in Portland. It’s since moved online, but CC and Portland composers and performers still enrich the program, including:

• Resonance Ensemble artistic director Katherine FitzGibbon, Geter, and other composers talking about music and activism.

• Portland composer Jennifer Wright and her Skeleton Piano and an all-Cascadia “concert” assembled from earlier performances

• Portland composer Andrea Reinkemeyer’s Triptych, (libretto by  Patrick Wohlmut)inspired by local disasters including the Tillamook Burn, Vanport Flood, and the inevitable Really Big One

• Portland composer Scott Unrein’s bird drawn in the sky of light, whose title is also a line in a gorgeous composition, In Honor of Aphrodite, by the late, great Portland-born composer Lou Harrison that I’ve had the joy of singing several times over the years. Other upcoming Oregon appearances include Resonance Ensemble and Third Angle New Music (Friday), Portland composer Ryan Francis and FearNoMusic pianist Jeff Payne talking about the group’s valuable Young Composers Workshop, eminent new music pianist and Portland native Kathleen Supove, Portland State University Percussion Ensemble, Opera Theater Oregon, Portland new music violist Christina Ebersohl, Portland composer Timothy Arliss O’Brien, and even Portland composer and ArtsWatch’s own music editor Matthew Andrews, and some of the country’s most renowned contemporary classical musicians and composers. Performances, discussions, and talks continue through the month, and it’s all archived for on demand gazing and listening.

R. Andrew Lee plays Scott Unrein’s ‘bird drawn in the sky of light’ at this month’s virtual New Music Gathering.

Other Oregon summer music festivals are also coming to your screens and speakers. Portland’s Creative Music Guild switched its Outset series to streaming, with remaining shows featuring New Orleans percussionist Diamond Kinkade and Portland hip hopper Gohan Blanco (June 23), and Ixnay on the Icket-thay & Quarantet 2020 featuring audio and video by John Niekrasz, Maxx Katz, Benjamin Kates, Mack McFarland and more (June 30).

Since early April, Oregon’s scintillating Pickathon music festival has raised over $140,000 for MusiCares COVID-19 Relief Fund via its A Concert A Day series of videos drawn from its vault of never-before-seen multi-cam, post-edited, and mastered footage of festival performances over the past decade. Proceeds support the artists who were scheduled to perform at this year’s now-scuppered festival. The organization has now extended the fundraiser through June, streaming sets from Wolf Parade, Langhorne Slim, Charley Crockett, Open Mike Eagle, Blind Pilot, and Preservation Hall Jazz Band.

• Bend’s  Sunriver Music Festival has suspended its August concert series, and moved its annual Festival Faire fundraiser to an online auction August 6-12, including a virtual Beethoven birthday party August 8 that includes a video premiere, online chats and performances by scholarship recipients. The festival still hopes to award $35,000 in scholarships to classical music students for next school  year.

Lost in Streamland

We may be stuck at home, yet it seems like there’s more music available to us than ever. I’ve been enjoying streams, some live, some archived, from Oregon musicians: 45th Parallel Universe and its Portland Social Distance Ensemble, Resonance Ensemble (ArtsWatch contributor Damien Geter’s The Talk and Agnus Dei, both on All Classical FM’s Played in Oregon show, available for two more weeks, along with an interview with Geter on the station’s State of the Arts show), Juneteenth (a jazz and hip hop-oriented celebration streamed from Portland jazz club Jack London Revue), Musica Maestrale, Cappella Romana, and more, including CMNW’s series of past performances airing on All Classical. 

I’ve also tuned into new music from beyond Oregon from Bang on a Can Marathon 2020, Minnesota Opera (Doubt, based on the Broadway hit play), Seattle’s Music of Remembrance, Metropolitan Opera (the magnificent recent productions Philip Glass’s Akhnaten and Satyagraha, and lots more. I recommend checking out this Friday’s 45th Parallel stream featuring poet Micah Fletcher and Pyxis Quartet, reprising some of the powerful words and music from their extraordinary 2019 concert at Portland’s Old Church Concert Hall. On Wednesday afternoon, KBOO FM will stream Portland composer Ezra Weiss’ fierce, ambitious big band composition We Limit Not The Truth of God, recommended in our recent round up of jazz-oriented Oregon recordings. And next Thursday, June 24, All Classical Portland’s Thursdays@3 program features sometime Portland composer Andy Akiho, with that episode available for streaming online for two weeks.

Stay tuned to ArtsWatch for more previews of upcoming Oregon performances. Until we can meet again in person, obey the wisdom of Aerosmith and stream on, y’all.

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Want to tell ArtsWatch readers about other streaming Oregon music? The comments section below is open for business.

The arts: After the deluge, what?

ArtsWatch Weekly: Planning for a post-Covid Oregon cultural scene; pancakes and the art of dissent; good things come in multiples

AS OREGON HESITANTLY REEMERGES FROM ITS LONG COCOONING – baby steps, everyone: take it cautiously, and wear your masks – it’s not too early to think about what the “new normal” might look like for the state’s arts and cultural organizations. A couple of highly respected onlookers have been considering the changed landscape long and deep, and while they disagree on some fundamental issues, on one thing they’re in accord: It’s highly unlikely that enough money will be available to support everyone in the manner to which they’d like to be accustomed.

What to do, then, when financial push comes to shove?

Fear No Music playing music by Middle Eastern and emigrant-diaspora composers at The Old Church Concert Hall: Will the future of arts in Oregon by small and adaptable? Photo © John Rudoff/2017

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There’s a man going around

Damien Geter’s An African American Requiem: a three-part interview with the composer

This is the final installment of a three-part interview. Click here for part one, “Black music is the centerpiece of American culture.” Click here for part two, “Tired of having conversations.”

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African-American composers play an important and all too often overlooked role in America’s musical history. William Grant Still and Florence Price were the first major black symphonic composers in America, and Still’s Afro-American Symphony was widely played across the country in the early twentieth century. Ragtime composer Scott Joplin and jazz composers like Fats Waller, Duke Ellington, Louis Armstrong, and Miles Davis wrote some of the most popular songs in American history. The late twentieth-century avant-garde music of Anthony Braxton, Julius Eastman, George Lewis, and Pulitzer winner Henry Threadgill explores the limits of musical performance, notation, and improvisation.

As we discuss with Portland composer and singer Damien Geter in our interview below, the relationship between an individual artist’s identity and their musical language is complex and multifaceted. The interaction between the European classical tradition and the American folk traditions of spirituals and the blues is equally complex, and has led to some of the most enduring works of American classical music—including not only the work of Still and Price but also Gershwin’s Porgy and Bess and Copland’s Clarinet Concerto.

The unification of these two musical worlds is apparent in Geter’s An African American Requiem, which was scheduled to have its premiere this spring in an Oregon Symphony concert that has been pushed back by pandemic closures to Jan. 22, 2021. There are clear historical precedents for Geter’s approach to the genre: Penderecki, in his Polish Requiem, combined the usual Latin liturgical texts with other text related to tragedies throughout recent Polish history, including the Holocaust, the Warsaw Uprising, and the Katyn Massacre. On Monday, we discussed how Geter includes contemporary American equivalents, notably the last words of Eric Garner.

In An African American Requiem, the original liturgical texts mostly remain untranslated, with the exception of the “Kyrie” (Kyrie eleison, Christe eleison) which is set in English: “Lord have mercy, Christ have mercy.” Choosing to translate the first movement after the introduction prompts the listener for further use of English in the Requiem and serves to make the meaning of this particular liturgical text clear to the audience. Many of the new texts are interwoven with the liturgical ones through contrapuntal overlaying or juxtaposition.

The “Liber Scriptus” movement is juxtaposed with the spiritual “There’s a Man Goin’ Round Taking Names,” highlighting God’s judgement upon death. The contrast of Ida B. Wells’ speech “Lynching is Color-Line Murder” with the “Libera Me” invokes parallels between the past and the present, showing how the lynchings of black men and women throughout American history continue to this day in a new form. The vengeful words of the “Libera Me,” combined with the desire for retribution at the end of “Lynching,” connect the spiritual and the material costs of violence.

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In part three of three, ArtsWatch talks with Geter about the nature of programmatic music, his new Justice Symphony, and the role of black music in American traditions. The interview was conducted by phone May 20, 2020, and has been condensed and edited for clarity and flow. The complete interview, with musical analysis and score samples, will be published next month in Subito, the student journal of Portland State University’s School of Music and Theater.

Oregon ArtsWatch: What are some of the new challenges, or conversely things that were easy for you, building up a large-scale work?

Damien Geter: It hasn’t been hard. I’ve gotten five commissions since this. I count myself to be very lucky, and I’m thinking that I should’ve done this all along. My path as a composer has been very personal, so when I revealed myself it became something that people were interested in. When people ask me, I say that I’m in the commissioning phase. I have things that I don’t advertise, because I don’t know if they’re good or not. I’m just starting from this point and building on.

AW: How did you approach the work’s technical side, things like combining blue notes with contemporary harmony and counterpoint?

DG: Sometimes I build music off of very specific ideas. For the “Lacrimosa,” I was thinking about how Renaissance composers would use chromaticism to indicate weeping, so I used a lot of chromaticism in that particular piece. That was the guide in that one. Some of these are based on things that already exist, and I kinda play around with those. Like in the “Liber Scriptus” and the “Man Going Round” I play around with the melody a bit.

Sometimes if I’m working on a piece, if I’m singing or at a show, it’s not uncommon for whatever composer that is to creep in. I was listening to a lot of John Adams when writing the “Recordare,” so there’s a lot of minimalism there. I was working on Porgy and Bess while writing the “Ingemisco,” so there’s some Gershwin there too.

The last concert I went to was the Shostakovich Eleventh Symphony, which is one of the best I‘ve been to. And I was writing my symphony at the time, so it sounds just like Shostakovich—but I’m not going to change it! When I’m doing oratorio works, I like to sit in the orchestra to hear all those colors and hear how those instruments work. I got a chance to do that, and it changed the way I was writing.

AW: We were talking about the influences of spirituals and the blues in the musical language, and it does seem like there are very different perspectives on counterpoint and harmony that aren’t intrinsically tied to classical music.

DG: We all go to school and take all these theory classes and ear training and it’s helpful, but when you become a big person you just write what sounds good. I’m not thinking about if it’s a Neapolitan sixth chord that resolves in a particular way. I mean, I have this training that’s innate within me, and I’m not thinking about those things. Sometimes I think about a chord progression to figure out how to get from point A to point B so it has some kind of flow.

I don’t like my music to sound too wonky. I just write whatever I feel like. It goes back to all those influences. If I’m writing something and I flatten the fifth, I mean I got it from somewhere and I probably didn’t get that from school.

AW: Are there any particular artists you grew up with who you have a particular nostalgia for? 

DG: For me it’s Anita Baker, and Luther Vandross. I get very nostalgic and I listen to them all the time. Earth Wind and Fire. I mean those are the folks I remember listening to as a kid, and as I was making my own musical decisions I listened to Janet Jackson, Whitney Houston, Madonna. Remember the band Bush? I used to love them. And remember Poe? I used to love her!

I definitely went through a Nirvana grunge phase, but at the drop of a hat I’d listen to Dr. Dre and Tupac, Snoop Dogg. I’m more of a Biggie than a Tupac person, though. I felt like the East coast was smoother. I really did love Public Enemy. One of my absolute favorite albums is The Miseducation of Lauryn Hill. I think my version of hip-hop is in a few of these movements.

AW: American classical music is so indebted to European classical music and American folk music; it seems we’re just taking from these traditions without trying to create a distinctly American music.

DG: Aaron Copland was focused on creating the American sound, and he took from black culture to create his own musical voice. Black music is the centerpiece of American culture. I can think of no form of music that has not been influenced by black music. Maybe groups like GWAR?

AW: Even there. It’s still rock music.

DG: Rock, country, everything. It’s all centered around black music. 

AW: If you were interviewing yourself what would you ask? 

DG: Since there’s such a central topic to this piece, I would ask if all of my music is centered around these kinds of topics.

AW: So is your symphony going to be programmatic?

DG: Well I’m glad you asked! Most everything that I’m writing these days has to do with the black experience. The symphony is called the Justice Symphony, from music of the Civil Rights movement. The first movement is a fantasy on “Eyes on the Prize,” the second is “Precious Lord,” and in the last I used “O Freedom,” “We Shall Not be Moved,” and “Lift Every Voice and Sing.” And everything that I write pulls from the Black Diaspora.

I wouldn’t call the Justice Symphony programmatic, in the sense that there’s not a program or story that goes along with it. Actually I don’t think anything that I write is programmatic.

AW: It raises the question of whether these lines are irrevocably blurred. Even if it’s a Brahms string quartet, then it’s still about something. 

DG: I don’t know if Brahms would say that. I think it depends on the person. It could be based on a memory. I was having a discussion the other day about art. People pay millions of dollars for a piece of art, and there are people who would never pay that much. It just depends on what you value and what you have in your head. So if you create a story around a piece, then sure it can be programmatic, but if that wasn’t the composer’s intent it’s hard to say whether it is.

It would be interesting to see in a hundred years if this thing has any legs, whether we think of this as nationalist music, or programmatic music, or music for music’s sake. Is what I’m doing nationalism? I’m not very patriotic. I think I’m doing the opposite at this point. 

AW: Perhaps dissent is patriotic.

DG: That’s true. 

AW: I’ve heard people say that the history of black liberation is one of taking the principles of freedom and equality our nation was founded on seriously, where it can’t just be for land-owning white men, it has to be for everyone.

DG: I think that’s true absolutely. I do use the national anthem in a minor key, in the “Lacrimosa.” So maybe that’s nationalism.

Want to support Black lives in Oregon? You can sign Resonance Ensemble’s open letter to the mayor and governor right here, and you can start learning more about racial injustice and police reform with Campaign Zero‘s #8cantwait campaign and the original Black Lives Matter.

Want to read more music news in Oregon? Support Oregon ArtsWatch

Tired of having conversations

Damien Geter’s 'An African American Requiem': a three-part interview with the composer, continued

This is the second installment of a three-part interview. Click here for part one, “Black music is the centerpiece of American culture.”

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An African American Requiem includes, alongside traditional liturgical texts and contemporary poetry, several direct references to recent police killings of black men. Stephon Clark was a 22-year old man who was shot dead in 2018 in his grandmother’s Sacramento backyard; Jamilia Land, a close friend of his family, is a member of California Families United 4 Justice, a community organization dedicated to supporting the victims of police violence and their families. Land’s words, “we are living in communities that are like war zones,” become the text for the soprano recitative of the third movement. Antwon Rose was seventeen years old when he was fatally shot by a Pittsburgh police officer in 2018. Geter sets a repeated line from a poem Rose wrote for his tenth-grade Honors English class: “I am confused and afraid.”

Eric Garner was killed by an NYPD police officer who choked Garner to death on a Staten Island street corner in 2014. His death was filmed by bystanders and widely distributed, becoming one of the major catalysts for the Black Lives Matter movement. Garner’s last words, “I can’t breathe,” became a common phrase heard during BLM protests. As we go to press in June 2020, Geter tells us that he plans on updating the work to honor the recent death of George Floyd, whose final words on May 25 so hauntingly echoed Garner’s.

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Art on the move: responding to crises

ArtsWatch Weekly: The Black Lives Matter movement and the continuing coronavirus challenge are reshaping the arts world

WE ARE IN THE MIDST OF LIFE-CHANGING TIMES, and in the face of multiple crises remarkable work is being done. How do artists fit in? Sometimes, smack in the middle of things. Many news organizations have been doing excellent work of discovering the artists speaking to the moment and bringing their work to a broad audience. Oregon Public Broadcasting, for instance, has been publishing some sterling stories – including the feature The Faces of Protest: The Memorial Portraits of Artist Ameya Marie Okamoto, by Claudia Meza and John Nottariani. Okamoto, a young social practice artist who grew up in Portland, has made it her work not just to document the events of racial violence in Portland and across the United States: She’s also, as OPB notes, “crafted dozens of portraits for victims of violence and injustice.” 


Ameya Okamoto, “In Support of Protest.” Photo courtesy Ameya Okamoto

“People get so attached to the hashtag and the movement of George Floyd or Quanice Hayes,” Okamota tells OPB, “they forget that George Floyd was a trucker who moved to Minneapolis for a better life, or that Quanice Hayes was actually called ‘Moose’ by his friends and family. When individuals become catalysts for Black Lives Matter and catalysts for social change … there is a level of complex personhood that is stripped away from them.” In her work she strives to give that back.

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