As is the pattern, Angles, the Strokes' fourth album, is the farthest departure from their debut lp, "This Is It," which riveted the hearts and ears of millions when it was released in 2001. Most of us consider "Is This It" their 'defining' album and "Room on Fire," First Impressions of Earth," and "Angles" as follow-ups to their initial masterpiece. We fans hang on like a devoted spouse, looking back at the honeymoon with reverie and longing because we're not sure who it is we are with anymore.
On the other hand, isn't it unfair of us to call "Is This It" their defining album when the Strokes have clearly been trying to slip out from under this style brand like an ox trying to slip out of its burdensome yoke? Furthermore, a band can hardly define itself with one album. The Formula** is to produce four albums minimum that sound more-or-less the same in order to firmly define a 'signature sound' [the public are slow learners] and in the interim, conquer the entire world from Katmandu to Kuala Lumpur where I am sure there is a guy right now wearing an AC/DC t-shirt.
Like confused tourists, The Strokes drive right by the Taj Majal and stop at a greasy spoon three buildings past, not realizing the greatness that had been right there before them. But if you were on court-ordered house arrest in the Taj, even that would feel like a prison. In other words, perspective is reality. And that's all each of us has to go by.
" Under Cover of Darkness " is the best song on the album in my opinion but I can't shake the image of Julian thinking placatingly, "Let's just put this track on Angles to make all those "Is This It" junkies happy." What is it about the fan base that makes us want to hear just more of the same? Do we have one track minds because we are mindlessly myopic or because we appreciate the subtle nuances of a focused study? Can you imagine Monet if , after the first couple waterlily paintings, he said to himself," Bah humbug with the waterlilies," and henceforth decided to paint a different piece of furniture with each subsequent painting until the end of his time? My feeling is that although this may have fulfilled some unnamed artistic personal mission, it would have surely plunged him into obscurity. Part of the beauty of his body of work is in the disciplined study of recapturing the same thing; the commitment and dedication to the capture itself. It's like when I saw the Who in Maui in 2004 and they were playing "My Generation" and the other same songs that they've been playing for 40 years. I thought to myself, "They must be so doggone sick of playing these songs. How do they do it?" But there was obviously such love in the work, meaning, the love for the fans and all the rewards that go with it. We all went absolutely wild. It was such sweet satisfaction. "Give the people what they want!" as Red Skelton, The Kinks and even Jimmy Cliff have famously said. But not everyone wants to play the Super Bowl......or do they?
The first track on Angles is Machu Picchu and might be described as a song with an 80's feel accompanied by flourishes. Track 3, Two Kinds of Happiness, starts out sounding a bit like a Cure era song but quickly launches into a Tom Petty sort of groove and then switches rapidly again into yet more metamorphosis. I even caught a few nuances of The Cars in both the chords and crooning in this song. The song could aptly be described as a very interesting journey. Your'e So Right and Taken for a Fool , tracks 4 and 5, follow the same line of experimentation and display Julian's breadth as a vocalist with Taken for a Fool being the better of the two. This good song somehow retains a nice consistency within the varied melody and styles. I loved their performance of this on David Letterman March 30. You can check it out on new.thestrokes.com. Awesome performance. Games, track 6, is an emo song hybrid, wrought with drum machine and synthetic sounds reminiscent of the 80's when artificial music was the thing. Call Me Back, track 7, has a Church/Bauhaus forlorn quality to the intro which is really interesting and surprising but then it switches abruptly and goes in another direction entirely, becoming much more complex. I really like Albert's art piece on the new.thestrokes.com website which accompanies this song. Very beautiful film short for this track. Gratisfaction, which has a Queen influence, feels like something Paul McCartney might have done post Beatles after finishing the 12 studio albums he did with the boys in eight years. Like a goat finally let out of its pen, there's something very Wings about this self-affirming celebratory jam. If Julian and the rest of the band are trying to prove their versatility as musicians, well then they've done that. And I can't help but compare the songs on Angles to other bands because if they're searching for an identity for themselves, then I am too. Especially if they haven't fully established, accepted or recognized their own. I have never felt compelled to do this with any of their other albums.
Metabolism is the least listenable song on the album. Can you even imagine this song ever being played on the radio? But clearly, that is not the end goal for The Strokes. I guess not everyone who can have it necessarily wants wax figures of themselves in Madame Tussaud's Gallery. I personally think it would be kind of cool.
"Life is Simple in the Moonlight" sounds just like themselves doing a bossa nova song. Different and definitely unusual.
DO go buy this album. It's worth it although don't expect to find a brick shaped confectionary in this Pez dispenser. If you're like me, you don't mind if the outside changes color and themes (it's fun to collect them all! ) , but you want the inside to look and taste pretty much the same. There's comfort in familiarity. You may ask the valid question, "How can there be familiarity in "Is This It" and "Room on Fire" -- that's only two albums in their colossal 'four album repertoire.' " The answer is that you play the songs over and over again hundreds of times, something I have done with their first two albums.
In other words, will Garfield eat something different you hand him after you've already introduced him to lasagna? Maybe. Maybe not.
I believe that this band's fan base has never even come close to reaching the full potentiality that it really deserves nor has it musically ever reached the heights of Music World acclaim that it has the ability and talent to pull off. Whose fault?To quote Gregory MaGuire from his best-selling novel 'Wicked,' " Perhaps every accidental cluster of people has a short period of grace, in between the initial shyness and prejudice on the one hand and eventual repugnance and betrayal on the other." Historically, that time frame for rock bands has been eight years on average. After that, you can fire Colonel Tom Parker and get as 'out there' artistically as you want. But let's face it, you can't fire The Colonel if you never even knew him. [end]
**see Elvis, Green Day, REM, the Cure, The Who, Van Halen, and countless other wildly successful and legendary bands....yes,even the Beatles whose first 4 albums, (1) Please Please Me, (2) With the Beatles, (3) Beatlemania! With the Beatles and (4) Introducing...The Beatles sound nearly identical in style.
Showing posts with label Julian Casablancas. Show all posts
Showing posts with label Julian Casablancas. Show all posts
Thursday, April 14, 2011
Saturday, August 14, 2010
Day 1, part 2
There were two doors on the trailer, one that said 'Band Only' and the other I can't recall. Only because the 'Band Only' sign was lighting up in hot pink neon, blinking and making a high shrilled alarm sound. Ok, in reality it was just Courier script on a piece of typing paper, but that's beside the point. It may as well have been. So upon entry, I was surprised to see a rectangular card table (the kind you see at rummage sales) with a laptop computer on it and a fax machine. I did see the Guest List on the table and , wasting no time, added my name on the list immediately before moving onto the next and, hopefully, more interesting room.
The place was nicely air-conditioned and the central room had a lovely red contempo couch, 2 side chairs and a coffee table that featured a basket with some decorative red wicker balls in it. I noticed the gigantic grey billowing curtains behind the couch and filed that in my memory as 'significant' before moving onto room #3 which had another Courier script sign on typing paper reading: "Rehearsal Room.'
Now this is where my 'Pam Mitchell' moment comes in because there on a guitar stand was a gleaming electric guitar and I knew that it had to be Nick Valenti's....or possibly Albert Hammond Jr's. It was the golden color of beer. I know I should have taken note of the make and model, etc....and if I was a guitar player I'm sure I would have, but instead...I simply reached over and stroked the strings with the breathless words, "This is the guitar Nick (or Albert) plays. He makes Strokes music with this guitar. Wow." A real Strokes' guitar is nothing less than a magic talisman for me because the music that comes out of it on Is This It, Room On fire and First Impressions on Earth makes me so happy. It actually has the incredible alchemistic ability to completely change my mood from down to up, from cynical to hopeful, from pessimistic to optimistic, from feeling old to feeling young and from feeling tired to feeling completely energized.How? I don't know. But really good music just does that. Plus, the way I see it, the drumbeat of a band is the heartbeat and the vocals is the soul. So the guitar(s) is everything else...and well, that's an awful lot of anatomy. It definitely determines how sexy the band is. As I've said before, and I'll reiterate, a good band has got to have sexy guitar. Absolutely imperative.
I had to chuckle to myself, because this exact thing happens in Zamecki's movie when 'Pam' (Nancy Allen) touches the strings of Paul McCartney's guitar in the Beatles' vacant hotel room only she has an orgasm at some point (was it when she was drinking out of the Beatles' water glasses left on the hotel coffee table?) and I am sorry to report that, unfortunately, that did not happen to me. I did, however, get to check out Fab's drum set and even contemplated taking the sticks but upon further thought, decided against it because what if that was the only pair available and he needed to warm up before the show? B-a-a-a-a-a-a-d. So I decided against it.
I went back into the lounge and hid behind the curtains as I considered my next move. If I waited there, I knew I would eventually meet the Strokes. Guaranteed. It would inevitably happen. I knew I would have to wait at least 2 hours before they arrived. I also knew that I would do what I always do when I play hide-n-seek: start giggling uncontrollably as people got near my hiding spot. Then I would probably roll out from my hiding spot and at that point , the only reasonable thing to do would be to sing a stanza of "She Came in Through the Bathroom Window" by the Beatles as I did so. This would be funny in a relaxed atmosphere but it occurred to me that 40 minutes until concert time might not be the most relaxed atmosphere particularly in lieu of the fact that it was to be the first time the guys would be playing together as the Strokes in years. So this means I would have to wait until AFTER their set in this cramped little quarters which would add another 90 minutes onto my waiting time. It took me about 10 or so minutes to process all these thoughts and by this time, I was so cramped and uncomfortable I was ready to spring my escape from behind the iron curtain. There is not a chance in the world I could last back there for 3 and a half hours let alone another ten minutes. I was just about to spring my escape when I heard a noise and realized it was someone entering the trailer.
He was alone. He dug around in a crafts bag for snacks about 3 feet from my curtain and at that point, I almost burst out laughing. It was everything I could do to tell my brain to not allow my mouth to laugh. "Don't do it. Don't laugh. Puh-leeez don't laugh!" I managed to stifle any audible giggles and he left the trailer. I exited my hiding spot and looked out the window. It wasn't a Stroke at all. I nonchalantly left the trailer and cheerily said "Hi!" to the guy that had just exited the trailer, thinking he could somehow get me to the Strokes. Turned out he was a Brit named Brian and he was their guitar tuner. I tried to find out where the Strokes were going to party that evening after the show but he knew nothing. What a loss for the Strokes. It would have been myself, Tieg and Sarah, the three most beautiful girls at Lollapalooza, not to mention the coolest. Brian DID hit on me, ask me out and tried to get me to meet him after the show for drinks. I discreetly turned him down on all 3 counts but agreed to try to find him after the show so that "we could party with the Strokes." I could barely contain my excitement. I showed him the locust I had befriended. It had landed on me and it was really beautiful, glimmering black and green and purple. It flew off into the blue as we spoke. An ancient Egyptian symbol of rebirth and resurrection. The Egyptian locust/beetle/scarab symbol ends up being a recurring theme so pay attention.
Because this was actually the second time I had gone backstage, the first time I returned from this netherworld to join my friends in the front row, Mavis Staples was finishing off her set. The entire crowd was singing blues and what sounded like gospel music. It was clear that Chicago adored this woman and it wasn't until later that I found out that Mavis, aside from being an award-winning musician and former member of the widely acclaimed 1960's group the Staple Singers, is an icon in Chicago. She was close with Martin Luther King Jr. (one of my abiding heroes) and was a musical and spiritual voice of the civil rights movement at that time. She is also a longtime good friend and collaborator of Bob Dylan, another abiding hero of mine. I was in the presence of an amazing woman.
The Black Keys came on promptly at 6pm and Tieg and Sarah went nuts. The literally let their hair down, danced the entire set and sang every lyric of every song. Dan Auerbach must know on some level that he is a lucky dude. There's no way that can't be gratifying to a male; to look downstage and see the prettiest girls in the crowd front row center mouthing your every word and going insane. I personally was not into Dan Auerbach because I tend to be pulled toward either very urban (London or Manchester, England/New York, generally) type music or West Coast type music. (Pearl Jam, Nirvana) I am sure there are exceptions but I can say definitively that I have never been so much as tempted to purchase a John Mellancamp, Alabama or Leonard Skynyrd album, for example. I am a Strokes/Libertines/Clash/Beatles/Lou Reed/ Bad Brains kind of girl. 100%. Of course, I like hawaiian music too. Its my island roots music. But hawaiian is really a very different genre than rock-n-roll.
The Strokes came on 15 minutes late which feels like an eternity when you have been waiting in the hot Chicago August sun for 12 hours. But it was great seeing the original five playing original Strokes music. It was the Strokes being the Strokes playing the Strokes. What else could you want? Never mind that the acoustics sounded like crap; I don't think anyone cared. It was a good call, opening the set with New York City Cops. Julian seemed happy and stoked to be there, which made me stoked. He even said that Lolla was "his new favorite place to play," which conveyed to me that he was really enjoying himself. [see sidebar at right for exact set list] However, it got so inaudible near the end of the set that I could only tell what song was being played by trying to make out a word or two spilling from Julian's mouth and then figuring out the lyric. It was seriously that bad. I don't recall any sound checks happening between performances and that can really make a huge difference. Brian went around and tuned things but there was no sound check per say.I want to emphasize the poor sound quality did not have anything to do with the band's delivery but everything to do with some weird acoustics settings that were going on. From where I was in the front row, there was distortion going on through the second half of the set that was actually making the songs sound like they were being played in the wrong keys. Was it the acoustics AND the extreme condition of 10,000 screaming fans yelling out the lyrics directly behind me? Probably. I can't be sure but by the last few songs, all I could hear clearly was Fab's drumming. There's also the possibility that my eardrums had simply been blown out for the night seeing as how I had been standing near the Budweiser Stage amplifiers for over 8 1/2 hours. Regardless, it was fantastic seeing them all performing together and I am glad I did. If it weren't for the Strokes, I wouldn't have travelled 4,000 miles to come and see Lollapalooza. It was all about them. It did, however, require some unpleasantries which I had anticipated well in advance:
#1) Jeapordizing one's physical well being. Did I mention I was in the front row? There were roughly 70,000 people at Lollapalooza and thousands of these people were pressing up against me. So there were thousands of people, the steel barricade and me in between these two entities. There were moments where I couldn't breathe. I was bruised and endured a red welt on my knee. My only mantra to keep me going was the thought, "This could be their Candlestick Park 1966!" until I finally was pulled out from the crowd by security so that I wouldn't pass out from the heat, the excitement, the exhaustion, the starvation, the pressure of bodies, etc. I was about the 11th person that got "rescued" --there were people getting pulled out roughly every 4 minutes-- so I think I got to be front row center at least half the 75 minutes that they played.
See photos above for battle wounds: Silver dollar sized red welt on left knee that turned into a couple scabs a day or two later, assorted bruises on legs and linear welt across my chest from the steel barricade [not pictured] Ouch! Love hurts!
I forgot to mention Wavves who played at 12:15pm. They were prompt and I really thought Nathan Williams had a lot of charisma and great stage presence. I also enjoyed the bassist, Stephen Pope,who reminded me a bit of Jack Black and since I am a fan, I couldn't help but like him. Nathan and Stephen were so different but clearly friends; it worked somehow. I liked their sound which had a punk edge to it (always appreciated) and I think seeing their set has inspired me to check them out more fully on iTunes. They're essentially the fresh faced generation's San Diego punk/skate band or so was the feeling I got. I thought they somehow pulled off being interesting and fresh even though its been done before. Let's face it, that's what Lollapalooza is for-it forces you to check out new music. The other bands I thought worthy of checking out further (no, not the New Pornographers and no, not Dirty Projectors) was Spoon and Temper Trap. But I think Wavves ranked first in the "havven't heard them before but must download more and listen" category.
AND THAT CONCLUDES DAY 1 of LOLLAPALOOZA. STAY TUNED FOR DAY 2.
The place was nicely air-conditioned and the central room had a lovely red contempo couch, 2 side chairs and a coffee table that featured a basket with some decorative red wicker balls in it. I noticed the gigantic grey billowing curtains behind the couch and filed that in my memory as 'significant' before moving onto room #3 which had another Courier script sign on typing paper reading: "Rehearsal Room.'
Now this is where my 'Pam Mitchell' moment comes in because there on a guitar stand was a gleaming electric guitar and I knew that it had to be Nick Valenti's....or possibly Albert Hammond Jr's. It was the golden color of beer. I know I should have taken note of the make and model, etc....and if I was a guitar player I'm sure I would have, but instead...I simply reached over and stroked the strings with the breathless words, "This is the guitar Nick (or Albert) plays. He makes Strokes music with this guitar. Wow." A real Strokes' guitar is nothing less than a magic talisman for me because the music that comes out of it on Is This It, Room On fire and First Impressions on Earth makes me so happy. It actually has the incredible alchemistic ability to completely change my mood from down to up, from cynical to hopeful, from pessimistic to optimistic, from feeling old to feeling young and from feeling tired to feeling completely energized.How? I don't know. But really good music just does that. Plus, the way I see it, the drumbeat of a band is the heartbeat and the vocals is the soul. So the guitar(s) is everything else...and well, that's an awful lot of anatomy. It definitely determines how sexy the band is. As I've said before, and I'll reiterate, a good band has got to have sexy guitar. Absolutely imperative.
I had to chuckle to myself, because this exact thing happens in Zamecki's movie when 'Pam' (Nancy Allen) touches the strings of Paul McCartney's guitar in the Beatles' vacant hotel room only she has an orgasm at some point (was it when she was drinking out of the Beatles' water glasses left on the hotel coffee table?) and I am sorry to report that, unfortunately, that did not happen to me. I did, however, get to check out Fab's drum set and even contemplated taking the sticks but upon further thought, decided against it because what if that was the only pair available and he needed to warm up before the show? B-a-a-a-a-a-a-d. So I decided against it.
I went back into the lounge and hid behind the curtains as I considered my next move. If I waited there, I knew I would eventually meet the Strokes. Guaranteed. It would inevitably happen. I knew I would have to wait at least 2 hours before they arrived. I also knew that I would do what I always do when I play hide-n-seek: start giggling uncontrollably as people got near my hiding spot. Then I would probably roll out from my hiding spot and at that point , the only reasonable thing to do would be to sing a stanza of "She Came in Through the Bathroom Window" by the Beatles as I did so. This would be funny in a relaxed atmosphere but it occurred to me that 40 minutes until concert time might not be the most relaxed atmosphere particularly in lieu of the fact that it was to be the first time the guys would be playing together as the Strokes in years. So this means I would have to wait until AFTER their set in this cramped little quarters which would add another 90 minutes onto my waiting time. It took me about 10 or so minutes to process all these thoughts and by this time, I was so cramped and uncomfortable I was ready to spring my escape from behind the iron curtain. There is not a chance in the world I could last back there for 3 and a half hours let alone another ten minutes. I was just about to spring my escape when I heard a noise and realized it was someone entering the trailer.
He was alone. He dug around in a crafts bag for snacks about 3 feet from my curtain and at that point, I almost burst out laughing. It was everything I could do to tell my brain to not allow my mouth to laugh. "Don't do it. Don't laugh. Puh-leeez don't laugh!" I managed to stifle any audible giggles and he left the trailer. I exited my hiding spot and looked out the window. It wasn't a Stroke at all. I nonchalantly left the trailer and cheerily said "Hi!" to the guy that had just exited the trailer, thinking he could somehow get me to the Strokes. Turned out he was a Brit named Brian and he was their guitar tuner. I tried to find out where the Strokes were going to party that evening after the show but he knew nothing. What a loss for the Strokes. It would have been myself, Tieg and Sarah, the three most beautiful girls at Lollapalooza, not to mention the coolest. Brian DID hit on me, ask me out and tried to get me to meet him after the show for drinks. I discreetly turned him down on all 3 counts but agreed to try to find him after the show so that "we could party with the Strokes." I could barely contain my excitement. I showed him the locust I had befriended. It had landed on me and it was really beautiful, glimmering black and green and purple. It flew off into the blue as we spoke. An ancient Egyptian symbol of rebirth and resurrection. The Egyptian locust/beetle/scarab symbol ends up being a recurring theme so pay attention.
Because this was actually the second time I had gone backstage, the first time I returned from this netherworld to join my friends in the front row, Mavis Staples was finishing off her set. The entire crowd was singing blues and what sounded like gospel music. It was clear that Chicago adored this woman and it wasn't until later that I found out that Mavis, aside from being an award-winning musician and former member of the widely acclaimed 1960's group the Staple Singers, is an icon in Chicago. She was close with Martin Luther King Jr. (one of my abiding heroes) and was a musical and spiritual voice of the civil rights movement at that time. She is also a longtime good friend and collaborator of Bob Dylan, another abiding hero of mine. I was in the presence of an amazing woman.
The Black Keys came on promptly at 6pm and Tieg and Sarah went nuts. The literally let their hair down, danced the entire set and sang every lyric of every song. Dan Auerbach must know on some level that he is a lucky dude. There's no way that can't be gratifying to a male; to look downstage and see the prettiest girls in the crowd front row center mouthing your every word and going insane. I personally was not into Dan Auerbach because I tend to be pulled toward either very urban (London or Manchester, England/New York, generally) type music or West Coast type music. (Pearl Jam, Nirvana) I am sure there are exceptions but I can say definitively that I have never been so much as tempted to purchase a John Mellancamp, Alabama or Leonard Skynyrd album, for example. I am a Strokes/Libertines/Clash/Beatles/Lou Reed/ Bad Brains kind of girl. 100%. Of course, I like hawaiian music too. Its my island roots music. But hawaiian is really a very different genre than rock-n-roll.
The Strokes came on 15 minutes late which feels like an eternity when you have been waiting in the hot Chicago August sun for 12 hours. But it was great seeing the original five playing original Strokes music. It was the Strokes being the Strokes playing the Strokes. What else could you want? Never mind that the acoustics sounded like crap; I don't think anyone cared. It was a good call, opening the set with New York City Cops. Julian seemed happy and stoked to be there, which made me stoked. He even said that Lolla was "his new favorite place to play," which conveyed to me that he was really enjoying himself. [see sidebar at right for exact set list] However, it got so inaudible near the end of the set that I could only tell what song was being played by trying to make out a word or two spilling from Julian's mouth and then figuring out the lyric. It was seriously that bad. I don't recall any sound checks happening between performances and that can really make a huge difference. Brian went around and tuned things but there was no sound check per say.I want to emphasize the poor sound quality did not have anything to do with the band's delivery but everything to do with some weird acoustics settings that were going on. From where I was in the front row, there was distortion going on through the second half of the set that was actually making the songs sound like they were being played in the wrong keys. Was it the acoustics AND the extreme condition of 10,000 screaming fans yelling out the lyrics directly behind me? Probably. I can't be sure but by the last few songs, all I could hear clearly was Fab's drumming. There's also the possibility that my eardrums had simply been blown out for the night seeing as how I had been standing near the Budweiser Stage amplifiers for over 8 1/2 hours. Regardless, it was fantastic seeing them all performing together and I am glad I did. If it weren't for the Strokes, I wouldn't have travelled 4,000 miles to come and see Lollapalooza. It was all about them. It did, however, require some unpleasantries which I had anticipated well in advance:
#1) Jeapordizing one's physical well being. Did I mention I was in the front row? There were roughly 70,000 people at Lollapalooza and thousands of these people were pressing up against me. So there were thousands of people, the steel barricade and me in between these two entities. There were moments where I couldn't breathe. I was bruised and endured a red welt on my knee. My only mantra to keep me going was the thought, "This could be their Candlestick Park 1966!" until I finally was pulled out from the crowd by security so that I wouldn't pass out from the heat, the excitement, the exhaustion, the starvation, the pressure of bodies, etc. I was about the 11th person that got "rescued" --there were people getting pulled out roughly every 4 minutes-- so I think I got to be front row center at least half the 75 minutes that they played.
See photos above for battle wounds: Silver dollar sized red welt on left knee that turned into a couple scabs a day or two later, assorted bruises on legs and linear welt across my chest from the steel barricade [not pictured] Ouch! Love hurts!
I forgot to mention Wavves who played at 12:15pm. They were prompt and I really thought Nathan Williams had a lot of charisma and great stage presence. I also enjoyed the bassist, Stephen Pope,who reminded me a bit of Jack Black and since I am a fan, I couldn't help but like him. Nathan and Stephen were so different but clearly friends; it worked somehow. I liked their sound which had a punk edge to it (always appreciated) and I think seeing their set has inspired me to check them out more fully on iTunes. They're essentially the fresh faced generation's San Diego punk/skate band or so was the feeling I got. I thought they somehow pulled off being interesting and fresh even though its been done before. Let's face it, that's what Lollapalooza is for-it forces you to check out new music. The other bands I thought worthy of checking out further (no, not the New Pornographers and no, not Dirty Projectors) was Spoon and Temper Trap. But I think Wavves ranked first in the "havven't heard them before but must download more and listen" category.
AND THAT CONCLUDES DAY 1 of LOLLAPALOOZA. STAY TUNED FOR DAY 2.
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