Just over 16 years ago, the cultural phenomenon otherwise known as “nipplegate” shocked the nation after Justin Timberlake and Janet Jackson performed at the 2004 Superbowl Halftime show. If you have been living under a rock since then, you may or may not be aware of what exactly went down. The TLDR version is that at the very end of the performance, Timberlake pulled off a piece of Jackson’s costume that revealed her right breast for less than a second to over 143 million viewers.
Towards the end of 2019, I featured one of my longtime favorite duos, Overcoats, on the blog for September’s Artist Of The Month. They were just starting to release new music ahead of their sophomore album, release date TBD, and touring with Two Door Cinema Club. 2020 brought the release of three new singles and another tour announcement with Cold War Kids.
In 2018, supergroup boygenius, comprised of Julian Baker, Phoebe Bridgers, and Lucy Dacus, formed their band around the irony of women in music being compared solely on their gender. In 2019—otherwise known as Billie Eilish’ catapult to superstardom, revealed that she wears extremely baggy, oversized clothing so strangers aren’t able to comment on her appearance. What will happen in popular music in 2020? While the future is unknown, it is easy to see that the way that musicians choose to showcase themselves to the public is becoming more and more autonomous.
Enter Claud Mintz, once performing under the stage name “Toast,” now just under Claud (who decided to change their performance name after they were threatened with a lawsuit from Wonder Bread). Claud grew up in Highland Park, a suburb outside of Chicago, and started making music with Josh Mehling as a freshman at Syracuse University. They later connected with Max Wortman of Terrible Records (a label that includes previous Chicago Haze features like Miya Folick and Empress Of), and the rest is history.
After the lawsuit scare, Claud had to reconsider what name they would be releasing music under, as a typical first name like Claud may imply certain things about their gender. Claud identifies as gender non-binary and prefers the they/them pronouns, and often addresses it in their songs. When musicians announce a gender preference that is not considered to be the “norm,” it may put pressure on them to create music for a certain group of people, act in a certain way, or automatically become a role model to marginalized communities who are looking to identify with someone like them. While this can be a heavy burden to carry, Claud doesn’t seem to mind. In a 2018 interview with Pond Magazine, they shared that they are more than willing to take on the role.
“I have a small platform, but it’s bigger than most, and I feel really fortunate because I think as a queer person I have a lot to say, and there’s a lot of people who need to hear it.” And on the difficulty of existing on a fan-supported pedestal? “It’s definitely a lot of pressure, but it’s necessary.”
Claud has had recent stints opening up for artists like girl in red, girlpool, Clairo and most recently, The Neighbourhood. Their second EP, Sideline Star, was released this past October. Claud has been performing a string of headline shows over the past month, ending with a sold-out, hometown show at Schubas Tavern in Chicago this past Monday evening.
It took a couple songs for Claud to seem comfortable onstage, which makes sense, considering the majority of their experience has been touring to support other musicians. There’s a stark difference in performing with the hopes of making fans, versus the pressure of performing to a group of people who are already there because they are a fan. On top of a handful of the audience members being Claud’s family members, plus their dentist in attendance, you can understand the nerves they would have in that scenario (I don’t think I could do it). Regardless, the nervous energy quickly transitioned into excitement.
Claud performed for just about 75 minutes, weaving through 11 or 12 songs. Most were met with audience members singing along, complete with lots of iPhone video footage and neon-colored hair. The age range in attendance was definitely in the late teens, but it was balanced nicely with Claud’s wide range of family members, including their two grandmothers singing along in the second row.
My favorite moments from the set include Claud’s performance of “Online,” a standout track from their most recent release. A very 2019, millennial way to end the show was with their pre-encore performance of the track “Easy,” a song that Lil Nas X DM’d them about on Instagram, saying “it made him cry.”
I think my very favorite moment was the performance of “Sideline Star,” a song that Claud explains, is about “always feeling like you’re never the star of the show and being pushed aside and learning how to be the best at that.”
Despite the sentiment, I definitely think they are on their way to being the center of attention.
Photos shot by me for Chicago Haze. Click here for all of Chicago Haze’s show reviews.
Do you ever have moments as a music fan where you are hearing an artist for the first time and just immediately know they are destined for greatness? Sure, you may stumble upon an artist’s new single on a curated Spotify playlist or enjoy an opening act’s performance for a show you went to solely for the headliner, but I’m talking about more. That feeling of finding a hidden gem of the music industry is exactly how I, and I would assume the other 4,000 people, thought when Angie McMahon stepped on the stage this past Sunday night at the Chicago Theatre.
McMahon, a 25-year-old Australian singer/songwriter, got her start back in 2013 after winning a spot to open for Bon Jovi on the Australian leg of their “Because We Can” tour. She has also had stints opening for the likes of Father John Misty, Alanis Morrisette, and The Pixies. Her debut album, Salt, was released in 2019 and peaked at #5 on the Australian charts. NPR called her “a one-woman reincarnation of Fleetwood Mac.” Need I say more?
McMahon arrived onstage just a few minutes past her scheduled start time, taking the stage solo in a pair of burnt orange overalls, an electric guitar strung over her shoulder. This was McMahon’s first night supporting Hozier on his sold-out tour: so you would expect anyone to be nervous, right? Well, if Angie was, which she noted later on into the set, you wouldn’t have been able to tell. Like, at all. I’m pretty sure the stragglers making way to their seats stopped dead in their tracks the moment McMahon opened her mouth during her first song: it was that powerful. For someone who initially seemed to be very soft-spoken, calm, and reserved, her voice told a larger-than-life story. You can see how her vocal ability and style of music fit perfectly with Hozier: both have an incredible range and rasp to their voice that comes off effortlessly. Think the power of Florence Welch of Florence and The Machine‘s vocals, combined with the rasp of Hannah Joy of Middle Kids.
Her 35-minute set was stacked with songs about love, relationships, horrible first dates, feminism, and…pasta. There’s a mix of self-confidence and self-deprecation embedded in her work that makes you feel like she’s your best friend you met on your first day of college after complimenting you on your shoes while you’re in line for a coffee. My favorite moment of her set was the backstory to one of her tracks, about a bad first date where she had to explain to said date about why she didn’t want to listen to a song on the radio that was performed by a predator, and that she had to spend the evening explaining why women and men should be treated equally. The song is called “And I Am A Woman.”
McMahon referenced that this was her first show without her band, though you wouldn’t have ever thought that something was missing from her performance. With the spotlight entirely on her, literally and metaphorically, she seemed to feel right at home, in one of Chicago’s most iconic venues, performing to a sold-out crowd.
Next on the bill for the evening was the one and only Hozier, someone whose performance I have been dying to see for over five years. I had the opportunity to see his set at Lollapalooza this summer, and he performed at Jerry Bryant Television when I was in college and interned there, but neither compares to an entire headlining set. I’m sure the majority of the people who read my blog are aware who Hozier is, so I will refrain from giving his life story, but I’ll give you the TLDR version.
Andrew John Hozier-Byrne is an Irish singer-songwriter who had his breakthrough year back in 2013 with his smash hit “Take Me To Church,” a song about “organizations or institutions that would teach people to be ashamed” about their sexuality. The music video for the song, which has been viewed over 320 million times and depicts the violence against the LBGTQ community in Russia.
Hozier’s follow-up to his debut album released in 2014, Wasteland Baby! was released in March of this year. The album debuted at #1 on the Billboard 200 Chart. Since its release, Hozier has been touring to support the album and stints at major music festivals. His two shows at The Chicago Theater continued the Wasteland Baby! tour, continuing this fall in North America and ending with two shows in Ireland this December.
Since Hozier is already a massively successful, worldwide superstar, I don’t feel like it’s necessary to dive into his performance or rant about his undiscovered talent. I did want to talk about the way that he writes music as protest songs, and how specific each song is in terms of meaning to him, and how interesting it is to see the way he explains his thought process come to life in a performance. “Take Me To Church” was a wildly successful song, on the radio and all, but I can’t imagine that everyone who would sing along to it on the radio was aware of the contextual meaning behind the track without actually analyzing the lyrics. This sort of subtle protest song seems to be evident in other musician’s songwriting choices (The first song I think of is Taylor Swift’s “Miss Americana & The Heartbreak Prince”) and how difficult it is to create a song that’s catchy but still making a statement about something. Hozier took this concept to the next level on his track, “Nina Cried Power,” ft. Mavis Staples, making a note that it doesn’t matter what a song is saying “as long as you tell the truth.”
The song is “a suggestion that the battle for equality these artists championed remains an ongoing and necessary one. “The fights that took place 100 years ago or 200 years ago for whatever — civil rights or workers’ right etc. — don’t stop. There is no final victory. [Staples is] the most amazing person, just fucking unbelievable. [Her] energy is still absolutely there” – Hozier commented in an interview with Rolling Stone.
Though not necessarily a protest song, Hozier seems to enjoy saying something greater in his music than just creating a catchy melody. His song “No Plan,” was inspired by the work of Dr. Katie Mack, a theoretical cosmologist and Assistant Professor at North Carolina State University. The song questions what will happen when the universe comes to an end, and how Mack’s studies have influenced Hozier’s own thought process and his songwriting. After he explained this reasoning before performing the song, I couldn’t help but feel incredibly creeped out yet simultaneously impressed at someone who could create a beautiful song about such a dark topic.
My favorite moments of Hozier’s performance were hearing “From Eden,” “Jackie and Wilson,” and “Cherry Wine.” Though I loved Wasteland Baby! just as much as the next person, Hozier’s debut album has been one that has stuck with me for years and it was incredible to finally get to hear some of those songs live.
Angie McMahon and Hozier have something in common: they are really freaking good at speaking about universal emotions in personal ways. Angie’s songwriting is more introverted, speaking on personal experiences that are relatable, I.E. eating too much pasta and going on a date with a misogynist. Hozier questions institutions of power and the meaning of life, but in a way that feels personal and relatable, just like McMahon. I’m not one to be an asshole about music that is one dimensional or meaningless, because I like a catchy pop song as much as the next person, but seeing two performances that feel more raw, genuine, and crafted with care is a rarity, certainly when they’re two performances at the same show.
As always, thank you so much for reading.
When I was a kid, I was fascinated with reality television, specifically the singing competition type. I grew up with an interest in music and auditioned for the school choir as early as I could (it was 3rd grade) and continued to be in choir until I graduated high school. It was never about being in the spotlight or liking the attention on me, I actually always hated feeling eyes on me when I was trying to hit notes and stay on key. It was the act of learning something challenging that isn’t easy for everyone and taking pride to push myself to be better in a creative field.
I used to joke (sort of) that when I was old enough, I would audition for American Idol. I was enthralled with the idea of being some sort of undiscovered talent, waiting to blossom on TV, win the hearts of voters, and win the entire show. You may think I sound ridiculous, but people do it!
When I actually got to high school and that same thought was laughable. I had horrible stage fright and never wanted to be on TV, so that was the end of that. I also learned more and more about how those sorts of things worked, and how winning a singing show means you are locked into bad contracts that can be unfair to the winner (see here). The show eventually ended…then came back. I’m not going to give you a history of the American Idol reboot, so all you need to know is that 25-year-old Alejandro Aranda, AKA scarypoolparty, was the runner-up of this year’s season, losing to Laine Hardy, a 17-year-old country singer. Alejandro’s initial audition for the show went viral for his impressive guitar-playing skills that left the judges speechless. It currently sits at 15,000,000 views on YouTube.
While he definitely had (and still does) the talent to win the show, his off-kilter style of performing and “emo-y industrial folk” music wasn’t the most palatable for your average viewer of American Idol. He was also the only finalist on the show to perform original music. Even though Aranda didn’t win the show, things worked out for him post-idol quite well. He quickly signed with Hollywood Records and began working on a debut album, also being added to the Lollapalooza lineup earlier this summer after Calpurnia had to drop out. This was the first time an Idol alum was ever on a Lolla lineup.
I hinted to this before, but I am not really that surprised that Aranda didn’t win Idol. And I think that’s a good thing: he now has the opportunity to create what he wants under a label that supports his vision, and thanks to the handy dandy interwebs, he’s created a dedicated fanbase after nobody knew who he was 10 months ago. His show at The Vic Theatre earlier this week was a sold-out one, people piling in off the streets on a chilly night. His set started promptly at 8:30PM as he whipped through a 65 minute set with 12 songs. Out of those 12, only six are available to stream on Spotify. He also has other songs he did not perform on his Soundcloud page.
Scarypoolparty (once I figure out why he performs under that name, I’ll update this post), has a wide range of sounds in his music. The first couple songs performed, called “Black Cross,” and the newly-released track, “Diamonds,” flirt with being rock music. Songs like “10 Years,” “Dance The Night Away,” and the infamous “Out Loud,” are slower, acoustic tracks that showcase his incredible guitar-playing skills. You wouldn’t have expected these varying sounds from the performer who appeared on Idol and sang covers of Justin Bieber and Post Malone songs. Scarypoolparty’s music post-idol showcases a different side to his talent that probably wouldn’t have ever been at the forefront if he were to have won the show and signed a more restricting contract.
Like I said before, a lot of the tracks that he performed are not on Spotify, so I went into this performance fairly unsure of what was coming. My favorite song that I was unfamiliar with prior has to be “Millennial Love” and of course, my favorite moment was hearing “Out Loud” live and being able to witness such incredible musicianship.
In 2019, you don’t have to win a talent competition to pave the way for yourself. Being on the show certainly helped Scarypoolparty reach more people with his music, but maybe it’s true that “second is the best.” Just a couple songs into the evening, Scarypoolparty took a moment to thank the crowd for coming, mentioning that just a couple months ago, he was nervous to perform his music in a coffee shop to a handful of people. Now he’s selling out venues of 1,000 people and making Stevie Nicks cry. Funny how the world works.
All photos were shot by me for Chicago Haze.
One of the coolest, yet weirdest things about the streaming era is just how often you will stumble across a band, hear a song or two, maybe save the tracks or add them to your most recent playlist, and then never dive any deeper past that. But then you may come across their name on a lineup at a show you’re planning to see, or a festival bill, and it gives you a chance to revisit the band and remember the time in your life where you first heard their music. That’s all a really long and thought-out concept, and maybe that’s just how I see it, but I hope I’m not the only one who sees it that way.
That’s how I first started listening to Sure Sure, an experimental pop band based in Los Angeles. The group, featuring Chris Beachy (keyboard and vocals), Charlie Glick (guitar and vocals), Kevin Farzad (drums and percussion) and Michael Coleman (producer), have been releasing music for the past five years from their house-turned-studio in Highland Park. Their management website states that their sound can be characterized as if “the Talking Heads, Tame Impala and Steely Dan raised their love child together.”
Thanks to the way that Spotify can make you go viral on the internet, Sure Sure has found immense success through streaming and even garnered the attention of artists like Rostam and Hippo Campus, who the band ended up touring with at the beginning of 2018. Sure Sure also toured with Young The Giant earlier this year.
Their latest stint includes a handful of tour dates with half•alive. Check out photos of their set at the Metro on Oct. 12 below:
Next up was half•alive, a group that I became mildly obsessed with earlier this year after hearing a handful of their tracks after seeing they were headlining Schubas Tavern here in Chicago, with support from another artist I’ve liked named Joan. My fingers were crossed that they would end up on this year’s Lollapalooza lineup, which ended up happening. Unfortunately, they were too early in the day on Thursday of this year’s festival for me to make in time, so I was hoping they would return to Chicago soon. I knew that they were continuing to tour into the fall and figured there was a chance they were going to add a date in Chicago, but had to wait until Lollapalooza was over to announce it (radius clauses, ya know?) The band’s music is a mixture of experimental indie-pop and rock with sounds similar to Twenty One Pilots, Lany and Hippo Campus, including groovy hooks and interesting electronic-infused synths.
Like Sure Sure, half•alive is also based in California and started creating music together in 2016. Lead singer Josh Taylor, who was once apart of a band called The Moderates until 2017, had embarked on a seven-month songwriting program with the hopes of writing 50 songs. In an interview with NBHAP, Taylor explained that his songwriting process revolves around hitting the sweet spot between abstract and relatable lyrics in order to allow listeners to interpret them in their own way.
“One of my favorite things is when someone takes the song, can understand the meaning and then it relates to their life in a very unique way. The message is there, it’s received and then it’s adapted into their story. And it can fit their as well as someone else’s story in a very different way. It’s incredible how that can happen.”
Taylor eventually joined forces with a friend, Brett Kramer, who helped him develop the songs and form a band. half•alive’s first single, “The Fall,” was released on April 24, 2017. half•alive’s first EP was released in 2017 and soon after, a new member was added to the band: J Tyler Johnson on the bass.
Last August, the band’s new single, “Still Feel,” was released, accompanied by a music video. The song and video caught the attention of major music publications like Alternative Press and Rock Sound. NPR also featured it on an “All Songs Considered” playlist. The song’s success led to half•alive signing a record deal with RCA Records and they spent a good deal of 2019 touring to promote their music and upcoming debut album, released on August 9.
In between festival performances and a headlining tour which kicked off on October 2, the band had time to squeeze in an NPR Tiny Desk Concert, which received high praise. Check it out below:
half•alive’s headlining set at the Metro this past weekend was the band’s 9th show of the tour thus far, but the energy exuding from Taylor the moment he stepped onstage was truly something I have never experienced at a live show. The track, “ok ok?” opened the evening and Taylor took to the middle of the stage immersed in the darkness. Two more people arrived onstage, holding lights over his face, shifting the illumination from left to right during the song, audience members craning their necks to get just a peek of his face in the otherwise completely dark space. The entire song went like this.
Though it is a slower track, it built into the very much attention-grabbing performance of “RUNAWAY,” which may be my personal favorite song of the band’s. The same two bodies from the first performance reappeared and exploded into a choreographed dance around the stage as Taylor continued to sing. To get a visual of this performance, click here to see the band perform it on The Late Late Show with James Corden.
I’ve seen my handful of performances featuring choreographed dance routines (the few that come to mind are Taylor Swift and Mitski – on two completely different ends of the spectrum), and someone like Lorde whose chaotic, expressive dance moves do seem to take on a sort of choreographed meaning unique to her and her alone. But nothing stood out to me in the way that half•alive’s did: you think that being a musician and vocalist is enough? Nah, go see a half•alive show and see the amount of work that goes into their dance moves. It doesn’t look easy, especially on a smaller stage like the one in Metro.
I think a choreographed performance can tend to come off as a little bit too rehearsed or disingenuine in some instances, but I thought that half•alive took it to a whole new concept that I had never seen before. It gives life to their music past just the production and lyrics, and makes you think harder than you were when you walked into the venue. It’s also impacted me to the point that I needed to revisit their music and see if I could interpret it in different ways than I what I had heard during previous listens, which is a feat that is really hard to accomplish as a musician (at least I would assume).
The band ended up playing just 13 songs, which felt long enough to conclude the set but I think both the band and the audience definitely had more energy to hear a couple more tracks. They played 12 of the 13 tracks from their debut (minus one 37-second interlude), so basically the entire album, and then two more songs from other projects. So it’s not like they really have a ton of material to perform live, but I think it’s only saying good things that I wasn’t ready for the show to end when it did.
Check out a few photos of the set below and click here to see half•alive’s dates for the rest of the tour before they go international.
Thanks for reading! All photos by yours truly.
How do we continue to emphasize the importance of self-care when we are constantly seeing the opposite message slammed into our brains? As we see some of the world’s most famous stars promoting unhealthy weight-loss supplements and waist trainers, it’s not surprising that we continue to find ways to make ourselves and each other feel bad. The self-care narrative continues to push spending money on kale salads, buying seven bath bombs, or taking a pricey yoga class with hopes of all our problems go away, when it’s really not that simple for anyone. It certainly can be, but at the end of the day, are these companies really doing anything else except selling us expensive things and slapping a #selfcare label on them?
Liza Anne wants you to feel differently. On her newest single, “Devotion,” leading an (assumed) unannounced fourth album potentially dropping before the end of the year or early next, the song is an ode to self-care and self-love that doesn’t revolve around taking a spin class or buying a $9 smoothie to feel better about our day. After a relationship takes a toll on one’s self-worth, “Devotion” a beautiful reminder that you always have yourself.
Liza grew up in St. Simons Island, Georgia and attended Belmont University in Nashville to study songwriting. Her first album, The Colder Months, was released in 2014 and shortly after, she dropped out of school shortly after to pursue music full time. Liza has released two more albums since, toured with Kacey Musgraves, Ray LaMontagne, Margaret Glaspy and more. Her 2018 album, Fine But Dying, ended up on my favorite albums of 2018—read more about it here.
Her most recent stint is a string of dates with Lucy Dacus, and their stop in Chicago pulled a large crowd to Park West last week. The 1,000 capacity venue started to fill up pretty soon after the doors were set to open as Liza Anne took the stage, decked out in a sheer green dress by KkCo that Liza says “gives her the same energy ‘Devotion’ gave me when I wrote it down for the first time.”
Liza played a great mix of tracks from Fine, But Dying (“Paranoia,” “Small Talks,” “I Love You But I Need Another Year,”) and unreleased tracks that I hope to hear released soon. Though it didn’t seem like many of the audience members were familiar with her music, Liza did a phenomenal job of interacting with the audience in between songs that made her likeable, relatable and down-to-earth. Chatting about the meaning behind the songs (“Panic Attack” was written about the times Liza doesn’t feel brave,”) and an unreleased song titled “I Shouldn’t Ghost My Therapist.” The set lasted about 40 minutes and gave Liza a great opportunity to showcase what her music is all about and what sets her apart as a performer.
Next up on the line-up was Lucy Dacus. If the name sounds familiar, it’s because I’ve written about her pretty extensively for her work with boygenius—the supergroup formed in 2018 with Lucy, Phoebe Bridgers and Julien Baker.
Dacus hails from Richmond, Virginia and left school at the Virginia Commonwealth University to pursue a career in music full time. Her 2016 debut album, No Burden, was released on EggHunt records and reached critical acclaim. Soon thereafter, Dacus was signed to Matador Records, who re-released No Burden in 2016. Dacus made her debut at Lollapalooza the same year and later played a handful of festivals and continued touring. Historian, Dacus’ second album, was released in 2018 and also received incredible acclaim by music critics. Just recently, Historian was included in Paste Magazine’s list of 100 best albums of the past decade, landing at #20.
boygenius’ self-titled debut EP was just as successful of a project as Lucy’s solo work, and they toured during the fall of last year to support the work. Since the beginning of the new year, Dacus has been releasing songs in a series called 2019, to commemorate holidays. So far, she’s released covers of “La Vie En Rose,” “Dancing In The Dark” and “In The Air Tonight,” as well as a couple of original tracks.
When the stage was ready for Lucy to arrive, the lights dimmed and all that illuminated the space was the neon sign that hung in the back of the stage. The set didn’t go as planned, however, as Lucy couldn’t find the guitar she was supposed to play on the first track, which led her to improvise with an acoustic guitar.
“Spooky things have been happening to me all week,” she says after the song ends and her guitar is handed to her onstage from someone who seemed to have found it. The show continued with one of my favorite songs by Dacus, “Addictions.” While the shape, atmosphere and overall ambiance of Park West seem to be a weird one that’s hard to describe, it felt as though the entire audience was able to sing along to every word as voices were echoing through the venue like a beautiful choir. I had only been to Park West once, and it was just about four years ago, so it’s safe to say that I wasn’t really sure of what I was getting myself into going to this venue, but it fit well with Lucy and vice versa.
As the show progressed, I thought Lucy became more and more comfortable onstage in front of an audience. She initially seemed a little uncomfortable being in the spotlight, and I for sure would be the same way. The venue doesn’t have any barriers between the stage and the audience, so you are quite literally belting your heart out to people 1 foot in front of you. Seeing it from that perspective must make things incredibly unnerving, and it’s only natural that her confidence would grow as the show continued. Lucy’s vocals remained unwavering from start to end, and it was impressive to see her really belt it out during times where the set needed it, and when she was able to hold back a bit during the more tender moments of the evening.
It felt like everyone in the audience was looking forward to hearing “Night Shift” more than anything. But not like they didn’t want to hear other tracks or would leave as soon as it ended, but as though each song was building up to that moment in the evening. I, for one, was ecstatic to hear this song live for the first time. There are only a handful of songs that can make me feel a certain way after I hear them live for the first time, and “Night Shift” gave me so much closure and felt like I could move on from the memories I associate the song with. When she sings “In five years, I hope the songs feel like covers, dedicated to new lovers” encapsulates the sentiment so well. We all hope to get to a moment in our lives where we can move on from something we associate with a negative person, relationship, event, etc. and look at it from a healthy perspective, and I think every night that Lucy gets to sing this song, she gets closer and closer to that feeling. I know hearing it live just once did it for me. THAT is the type of #selfcare I would like to bottle up and have forever.
Lucy’s current tour began in the beginning of September and has dates that run through early November. Click here for upcoming tour dates.
All photos shot by me for Chicago Haze.
As always, thank you for reading!