FILM —- Harry Potter and The Deathly Hallows Part 1

The cinema experience invites many things; overpriced popcorn, uncomfortable seating, bad pop music playing as you await the red curtain opening, as I say; many things.  What I think the cinema experience should give you is….inspiration, excitement, escapism, wonder, overwhelment, making you want to come back for more.  This is EVERYTHING that Harry Potter gives you in Part 1 of The Deathly Hallows.

I’ve not read all of the Harry Potter books.  I must confess to reading half of the first book; Harry Potter & The Philosopher’s Stone, but that’s as far as I got.  Nearly everyone I knew at the time was reading Harry Potter and I found it all a bit too much, so I rejected Mr Potter.  A decision, come November 2010, I’ve come to regret.  It’s odd that it’s taken me seven books and seven films to come to this realisation but it’s all down to director David Yates. Yates has been responsible for the past three Harry Potter films, which in my opinion have been some of the best yet, and he shall be responsible for the finale; Harry Potter & The Deathly Hallows Part 2. I thoroughly enjoyed this film and I really wasn’t expecting to since it had gathered so many mixed reviews but it was, and I join several teenagers in quoting: “awesome”.

It helps that the setting for HP&TDH:Part 1 has nothing to do with Hogwarts.  Our wizadry trio – Hermione, Harry and Ron, are running free and racing against time from the dark lord; Voldemort.  As soon as the film begins, we pick up from where the Half Blood Prince left off, immediately in fact.  There are injuries and deaths along the way (I cannot begin to tell you how upset I was about [*spoiler alert*] Dobby, hence my jpeg ode) and surprise after surprise in store.  I don’t want to give too much away for the Harry Potter fan as there really is so much that happens in The Deathly Hallows, including a gorgeous little animation.  I’m pleased that I saw this film with an avid Harry Potter connoisseur as I was able to ask questions, catch-up on a few HP points here and there y’know?  The cast are brilliant, Emma Watson in particular for me and Bill Nighy as the Ministry of Magic from the valleys.  You can tell that every actor knows they’re working on something special here, a piece of British film history and, if you’ll forgive me, a piece of magic.

I left the cinema in awe of one person though; J.K. Rowling, the author of Harry Potter and the mind behind these fantastic stories.  As a writer myself (and a ‘Jo’), I find the fact that she came up with these ideas whilst on a train trip, so inspiring and romantic.  Only recently did Rowling become producer on the Harry Potter films and it really does show.  Although I did enjoy the early Potter films, it’s these last few David Yates efforts that have totally grabbed me.  I just can’t gush about it enough and I absolutely cannot wait for Part 2 in July, 2011.

By Jo Overfield

How I Write How I Write How I Write

There’s a regular feature in the books section of Time Out magazine called How I Write, where authors explain their working routines.  For quite some time now I’ve been thinking about what I’d write for the magazine when they surely and inevitably asked me to let them in on what my secret was.  Ever since the publication of Goodnight Jim Bob, my first book – I’ve been planning what I’d say.    A lot of the How I Write pieces tend to be fairly similar – get up at five, walk the dog, put pot of monkey digested coffee on, go into office overlooking the sea and write (insert amount) thousand words before the kids come home from school.

I either read somewhere or heard it said or more likely I just imagined it or made it up but apparently there’s a male and female way of writing.  The male way is to plough through from start to finish without reading what you’ve written and then do the editing afterwards.  The female way involves editing as you go along.  Or maybe it was the other way round.  It’s not important and is no doubt bollocks anyway.  But since you asked, I write the lady’s way.

Words read differently on paper than on the computer screen, it’s also easier to miss errors on the computer.  So I write and rewrite and then print and read and then edit and print again.  I waste a lot of paper.  The e-book would be a false ecology economy with my books.  My books are planet killers.  I was thinking recently about whether we’d need home printers if nothing we read is actually printed anymore.  Very quickly I decided that soon the only people using printers will be writers, and if the Mars/Venus theory has any truth to it, the writers will mostly be women.  I’m going to print this now, read it and come back to it in a minute.

I’m back.  It’s not brilliant but I’ll carry on.  I’m currently writing a second novel and it’s taking a long time.  I’m doing it the lady way again: editing as I go, printing and throwing away a lot of A4 paper, I have been selecting the 2 pages per sheet option in the print layout menu though, so I’m not quite BP.

I write with music on (usually The Jam or Elvis Costello) or I write without music on or while someone’s talking on the radio.  A lot of the time I’m writing when I’m away from my desk.  I write a lot on trains – not on trains, I’m not Banksy –  and I’ve also been writing a fair amount in my head when I’m swimming.  As a byproduct, parts of the book will be set in a swimming pool and there’s also a bit on a train.

That’s probably how I’d write How I Write.  Not that the bastards will ever ask me.

Anyway, got to stop now.  The tide’s out and I have to get the kids from school. *

by Jim Bob

* Jim Bob lives in South East London nowhere near the sea.  His daughter is 24.

FILM — ANOTHER YEAR

Another Year, another Mike Leigh film. It had every stamp of a Leigh classic; well-observed characters constructed to scrutinise us all, the bleakness of life never wrapped up in cotton wool, and a haunting oboe and cello soundtrack that fits these films so well. However when I came out of the (tiny, 20-seater screen – why so few people going to this film?  Maybe it’s just Basildon) cinema, I didn’t feel like I had been to see a film as much as I felt I was just observing a family for a year, a real family.

The beauty of Leigh’s work is that we know his characters; we live next door to Gerri, we see a Tom on the train each day, and we rush out of work at the end of the day to avoid a Mary snaring us for drinks when all we want to do is get home in time for The One Show.  We all have a Ronnie in the family, don’t we?  A distant, silent relative who we only see at family funerals?  I cannot deny how well observed this was; and the dialogue you cannot fault.  However I struggled slightly with Gerri and wondered if it was her detached counsellor-mode that made her seem colder than she should have been, or Ruth Sheen’s acting.  Was she simply a woman who could not switch off from counselling each day so it bled into her personal life?  That’s certainly likely.  Or was this a Mike Leigh stalwart getting complacent?

Gerri’s relationship with Mary is undoubtedly complicated, and it turns sour when Mary, ever in sad, desperate, flirting love with Gerri’s little boy (31 year old Joe), is introduced to Joe’s lovely, warm new girlfriend.  But why does Gerri hold a grudge so deeply?  We are meant to feel sorry for Mary, but on the other hand we can see Gerri’s point of view.  All she wants is for her son to be happy, and in the moment she gets confirmation that he is, Mary spoils it.  We can see both sides.  It makes me wonder (as all Leigh’s films do) about the back-story – is this another one of Mary’s bad moments in a huge line of examples?  It could be the final push that drives Gerri to be angry.

Despite the other sad-act friends Tom and Gerri take in along the way, this is ultimately all about Mary.  From her giddy, wine gluggling beginnings eyeing up silver foxes in the pub, to her excruciating exchange with Tom’s bereaved brother Ronnie (with special mention to a wonderful David Bradley), this is a film about lonliness, and Mary, the patron saint of it.

By Ray Morgan

www.myspace.com/raypoetry

www.raypoetry.blogspot.com

FILM —- THE KIDS ARE ALL RIGHT

Directed by Lisa Cholodenko and co-written with Stuart Blumberg, this film is a comedy-drama that was an immediate hit at the Sundance Film Festival, and has been receiving critical praise since its release.  I am wholeheartedly going to agree with this praise, it’s the best independent film I’ve seen in a while.  Well written, well acted, well done quite frankly.

Let’s go into detail; Jules, played by Julianne Moore and Nic, played by Annette Bening, are a married couple with two children.  Yes, they are a lesbian couple and yes, they have each given birth to a child using the same anonymous sperm donor.  When the older child, Joni, played by Mia Wasikowska, turns eighteen, her brother Laser (Josh Hutcherson), asks her to contact the sperm bank to get in touch with their biological father, Paul, played by Mark Ruffalo.

The story then unwinds to reveal the dynamics between Jules and Nic, their relationship, the effect that Paul has on the family, how the children feel and an insight into Paul’s character.  It should seem complicated but actually and rightly so, this is simply a film about the complexities of a relationship and a family.  It deals with flaws, the flaws you see in yourself and not only your partner.  Jules’ character is very laid-back, a bit too laid-back causing Nic to be the force in the family, the one who makes the big decisions and works hard to keep the house afloat.  This seems to cause friction between the pair and ultimately the reason why Jules starts to become drawn to Paul, which is short-lived as Jules profoundly realises her love for Nic.  Personally, I felt more sympathetic towards Nic, I thought Annette Bening played her brilliantly and I hope she is nominated for an award.  Nic could easily been seen as the less likable character because of her hardness but I found her character to be very supportive of Jules and the heart of the family.  Having said that, Julianne Moore does give an excellent turn as Jules and both are entertaining to watch.

There are some perfectly executed scenes in The Kids Are All Right, hilarious and touching, that I don’t want to spoil for you so I won’t.  I saw the film in Camden and there was loud belly laughter coming from all ages, men and women, so this is a film that reaches a varied audience.  It shouldn’t be written off as a “chick-flick” or a “gay movie” because it is neither and to be labelled as such is short-sighted.  Director Lisa Cholodenko has clearly drawn from her own experiences off-camera, ditto with co-writer Stuart Blumberg, thus making the film feel even more personal to the viewer.  Mark Ruffalo, whom I’m a big fan of, is superb as lost soul Paul, and look out for Mia Wasikowska, who played daughter Joni, a dead-ringer for a young Gwyneth Paltrow.

The Kids Are All Right is a vulnerable, moving, interesting and funny film.  I found myself rooting for all the characters, touched by its honesty and wanting to know that the family were going to be okay.  I cared.  That’s the biggest thing about this film, is that I cared so much for it.  It’s refreshing that this film even got the green-light in Hollywood (thank god!) and given its massively warm reception, it’s essential that more stories with this kind of material get made.  There are all sorts of families out there and different kinds of relationships but essentially, at the core, we all have something in common with both.  We’ve all been a daughter, a son, a girlfriend, a father, we’ve all had a connection, we’ve all loved, we’ve all fucked up and that’s why this film is needed.  To remind us that we’re all made of the same chemical.

THE KIDS ARE ALL RIGHT is out in cinemas now.

By Jo Overfield

FILM — WHIP IT

I love Drew Barrymore.  Let’s get that out of the way now because I don’t want any doubt to set in.  She’s cool, she’s inspiring, she’s a laugh and she looks pretty good in a Judas Priest t-shirt.  I would like to go for a tequila or 10 with Drew Barrymoore.  Got it?  Good.  Just watch 2004′s My Date With Drew and there can be no argument that Drew Barrymoore is one cool woman.  In 1995, Barrymoore formed Flower Films, a production company, with business partner Nancy Juvonen.  Flower Films helped produce Donnie Darko; a film that ranked 9th in FilmFour’s ’50 Films to See Before You Die’.  Drew Barrymoore has successfully produced nine major films, two TV series and one TV movie.  I absolutely believe she has great skill and gumption in producing.  Her acting is not beyond stretch either, she was astounding in the recent HBO take on Grey Gardens, based on the life stories of the eccentric aunt and first cousin of Jackie Onassis, orginally a 1975 documentary.  In fact, Ms Barrymoore won Golden Globe for Best Actress for her performance.  So did I expect better from her directorial debut?  Yes, no, I don’t know.  The prospect of Ellen Page, Juliette Lewis, Zoe Bell and Drew bombing round a roller rink in their skates to a soundtrack that features The Go! Team and Peaches??  I thought I was going to burst with urine at the excitement but instead, I was left feeling a little disappointed and short-changed.  Whip It has the tone of a Judy Blume novel which made sense when I disovered that the film was based on a novel intended for young adults; Derby Girl, by Shauna Cross, who also wrote the screenplay.  Whip It centres around Bliss Cavendar (Ellen Page), a small town teenager living in a small town who is sick of the small town she is living in, so, she decides to join a roller derby team she discovers in nearby Austin, Texas.

What follows is a very predictable plot of ‘girl tries out for team – girl is a bit of a ninja at rollerskating – this bugs the rival team – girl meets boy in a band – boy in band is a bit of a player – girl lies to parents about her new hobby – parents find out and are mad – parents then see how good she is – everything is fine’.  I’ve not read the book but it seems as if Barrymoore has remained more than true to the material.  For me, Whip It is missing an edge.  Although there are hints of an edge – the punk font, slick credits, genre defying soundtrack, Har Mar cameo – but no promise.  This is very much a safe, teen movie with a message.

I wanted more from the film and more from the cast, Zoe Bell was my favourite thing in Death Proof, a great choice for roller derby team the Hurl Scouts, but her role felt a bit empty in this film.  Same goes for Juliette Lewis (who played Bliss’ nemesis Iron Maven), I would have liked more screen time with both.  Ellen Page gave a fair performance as Bliss but I didn’t find myself rooting for the character or immediately drawn to her story like I did in Page’s other films.  Drew Barrymoore has huge potential as a director, it has her producer stamp all over it and there are pockets of Whip It that nod to her love of film.  I’m not even sure what I was expecting from Barrymoore, knowing she’s made a string of family films how can I be that surprised?  Plus she does this style of film well and she always works with an impressive line-up.  But was this everything I wanted it to be?  Did it live up to the excited angst I felt when I picked up the DVD?  Sadly, no.  But if you’re looking for a fun, safe, clean, predictable teen film with a watchable cast then get your skates on because Whip It’s your girl.

By Jo Overfield

MUSIC — Donna Macocia @ Bush Hall, 29/08/10

Once in a blue moon, a Sunday comes along that is near-on perfect. Hearty pub roast dinner followed by one of my favourite artists at one of my favourite London venues; this was one of those Sunday’s.  For those not lucky enough to have been to Bush Hall would have missed its beautiful restored dance hall with chandeliers (note to Southender’s: reminds me of The Royal Hotel’s ballroom R.I.P).  You’ll be surprised by the look of the hall’s modest outside on Uxbridge Road, to then venture inside and discover a gorgeous rococo room of the highest grandeur.  My first time here was in the summer of 2008, to see Juliana Hatfield, having been a big Hatfield fan in my teens.  I instantly fell in love with Bush Hall and went on to pick up gigs here with A Hawk & A Hacksaw (my god, the amount of handlebar moustache’s in the queue outside!), the Arctic Circle’s Christmas Concert and, the Scots band Amplifico.  The latter being where Donna Macocia comes in, Amplifico (Donna was lead singer, keys and songwriter with the band) started in 2004 and I became a fan in 2005 through the music of KT Tunstall.  A thousand compere’s will have introduced Donna onstage as “support for KT, chosen by KT to appear in her video, provided backing vocals on KT’s acoustic album” so I don’t need to elaborate further on the human Tunstall web.  What is lesser known is that Amplifico also supported Regina Spektor back in Edinburgh a handful of years ago.

The band are currently having a sabbatical but lead-singer; Donna Macocia, continues to regularly gig and record her own material.  I had always known Donna behind a keyboard onstage, in her performances obviously and not because she was prone to compulsive hiding.  When Donna started to pick up the ukelele and guitar, I wasn’t sure how she could make this new outfit work for her music.  The Bush Hall gig shattered any fears I’d had in the past, this was the most confident I’d seen Donna perform in a while, and only a couple of hours out of A&E with a dislocated toe!  Donna performed a strong 5-track set that included; Rings & Fences, You Can Leave the Light On and new song, Beauty of Choice.  The live-looping combined with Donna’s impressive vocals leaves her audience with a sea of gawping faces.  The Nothing & The Numb is haunting live, it requires exactly the kind of acoustics and audience that Bush Hall provide.  You Can Leave the Light On is my new favourite Donna Macocia track, it reminds me of Michael Jackson‘s ‘Man in the Mirror’ and takes me back to wearing stonewash jeans with a ‘Bad’ badge sewn in the knee.  It has a sexy funked up bass and Motown feel to it and is very infectious when seen live, I defy you not to gyrate your hips to this one.  Donna is a genuinely gifted songwriter who has the audience in the palm of her hand, I am so proud as punch and pleased that she has found her way as a solo artist.  The lady is destined for great things and so you must introduce your ipod to her immediately, I guarantee you will become as addicted as I am.

www.moochacha.net

By Jo Overfield

MUSIC —- Darwin Deez @ Green Man Festival

It’s 1997, you are in a small club in North Carolina and a less- inebriated-than-he-actually-believes-he-is joker thinks, if he spikes each member of Ben Folds Five’s drinks with acid, it might stop them whining about pseudo depressing self-conflict.  The result is Darwin Deez.  First coming to the attention of the UK in late 2009 with the release of his single; ‘Radar Detector’ reaching Number 5 in the indie charts, the  Darwin Deez stage circus is a sight to behold.  I’ll be honest, Darwin’s pretty dull tunes and drawly vocals don’t really do it for me musically but that’s really not the reason I am suggesting you see a Darwin Deez show.  Darwin’s appearance is somewhere between Jesus and one half of the endlessly irritating 118 advertising bozos, but inbetween the average vocals and generally uninspired guitar playing, he and the band, who are best described as a rough approximation of all the most neurotic sidekicks from every US teen movie since time began (Cameron from ‘Ferris Bueller’s Day Off’ anyone?), stage ridiculous dancing to, among others; ‘Walk Like an Egyptian’ and ‘Do the Bartman’.  I don’t think there was a single person that wasn’t at least partly distracted from their organic falafal by their antics.  With the exception of the visceral punch in the face that is The Flaming Lips this was undoubtedly the most entertaining stage show of the weekend.  Darwin Deez may not be much of a wonder in the way of musical inspiration and skill but as far as perfect festival flavour goes he’s pretty much nailed it.  Would I pay for a gig?  Absolutely not.  Would I make an effort to drag all my friends to see them at a festival I was at anyway, even after 5 pints of cider have made my wellies feel like lead boots?  Almost certainly.  Ladies and gentlemen: I bring you Darwin Deez AKA Napoleon Dynamite; the university years.

http://darwindeez.com/

By Sarah Broomfield

FILM —- Inception

The man behind The Dark Knight and Memento brings us a science-fiction-action film for 2010: Inception. So-called because “inception” is the process of planting an idea.  The film is inspired by ‘lucid dreaming’; a dream in which the sleeper is aware that he or she is dreaming.  It’s also a bit of a heist movie, centering around Dom Cobb, played by Leonardo Di Caprio, an “extractor”, who enters the dreams of others to obtain information that is otherwise unavailable.  Piece of piss, right?  Wrong.  Anything Christopher Nolan sets his mind to is far from easy.  The questions Dom struggles with in his mind, about the death of his wife, are interfering with his grip on reality.  He has been promised a chance to go back to his old life on condition he plants an idea in a corporate target’s mind.  Joseph Gordon-Levitt and Ellen Page play “architects” who design the dreams, Ellen’s character Ariadne is a student, keen to prove her worth in this distorted world.   Christopher Nolan has created a clever film, one that respects and begs the audience’s attention.  By his own admission, Nolan was influenced by The Matrix and Dark City, both flirting with cacotopian themes.   If you look at Nolan’s 2000 film; Memento, you will notice the use of memory, perception and grief running throughout.  DiCaprio gives a strong turn as Dom but oddly, is a dead-ringer for director Nolan.  My favourite performances in this film are by Ellen Page, Tom Hardy and Joseph Gordon-Levitt, the latter recently saying he’s been to see Inception “five times already”.  Apparently, each viewing brings a new perspective, which I guess is the point of most science-fiction plots.  Tom Hardy is definitely a British actor to keep your eye on, he has an early De Niro quality and can change his appearance quicker than Christian Bale can say “I want you off the set!”

It’s interesting to see Ellen Page in a different, slightly more mature role, I’m becoming a big fan of both her and Joseph Gordon-Levitt, co-incidentally the pair look great together on-screen too.  Marion Cotillard plays the wife of Dom, as ‘Mal’ Cobb, I’ve got to admit that I found her character quite irritating.  This is coming from someone who loved Marion in La Vie En Rose so I was quite disappointed.  The other star of Nolan’s film is of course, the look, the style, the wallpaper of the movie.  Nolan says he kept the CGI to a minimum, preferring to use practical methods whenever possible.  There are some impressive eye-catching moments but I was expecting more based on the rumours I’d heard leading up to the films production.  All in all, I enjoyed the cinematic experience of Inception and I was on the edge of my seat a few times but in retrospect, I can’t help feeling that something was lacking but I just don’t know what that is.  Perhaps, like Mr Gordon-Levitt, I need to see it again.

By Jo Overfield

MUSIC — Foonyap gig @ The Marquee Room

FOONYAP with Honeybear, The Marquee Room, Calgary, Alberta, Canada

This review should start with some full self-disclosure: both Foon Yap (aka FOONYAP) and Honeybear (Aaron Meyer to his Mom) have both played a part in my own musical project Woodpigeon. Foon provides the lovely string arrangements, while Aaron came along to help out on a UK / Ireland tour last year, even opening a couple of shows in Belfast and London. But this is no mere friend-based sycophancy as both are, without doubt, two of my favourite solo performers.  The stage of Calgary’s The Marquee Room glistens with tin spangles, giving this raised corner of the room a sense of Andy Warhol’s famed Factory. The lighting is soft and golden, and reflects off the shimmering backdrop. It’s hard to look bad when playing at The Marquee Room. When the performances are disappointing, at least there’s that. (I know this first-hand, having played my absolute worst here — at least the photographs looked beautiful the following day).   There is true joy to watching your friends and collaborators growing and stretching out on their own. FOONYAP’s earliest shows last year were shaky, her hands shivering on her violin (occasionally dropped on the floor in response) and mandobird. Yet already she’s developed into one of our most hypnotic performers, playing her epic layered loop-pedal driven songs on table tops in local shops and violin hymns to the Moon in city parks after dark.

‘The Blue Lagoon’ spirals out into a swell of howling strings enveloping the room; Foon smiles slyly as she sings it, and ‘Fun Machine’ is built on a two-note mandobird riff nearly obliterated by distorted violin and heavenly shouts. While she’s only two EPs in to what is sure to be a packed discography (the lovely baby steps of The Darling EP, the dark vampire sex metal of her “other band” FOONYAP and The Roar’s The Mes The Mys & The Swimming Pool EP), the new songs played tonight give proof of just how amazing she’s soon to become.

Equally adept at building overwhelming soundscapes, Honeybear’s music is directly tied to an old time history of song, yet simultaneously new and unique. (This is the same fellow who introduced me to both Here We Go Magic and John Jacob Niles somewhere in the middle of the Irish countryside on the same lengthy bus ride). The ear-catching originals are mixed in with the harrowing covers – ’In The Pines’ (I wouldn’t be surprised if Honeybear hadn’t yet heard Kurt Cobain’s famed MTV Unplugged version) and Tanya Tucker’s ‘Blood Red and Going Down’ – both sounding at least 100 years old but fresh and exciting. Joined on cello by Clea Foofat (her own early solo recordings a heartwarming soundtrack for a rainy night), Honeybear’s gorgeous voice and gently strummed ukulele enraptured the room.

I’ve been happy and proud to work with both of these fine individuals, my mind blown while sitting at Foon’s feet in Reykjavik this past May for her first solo show outside of Canada, or doing the same with Honeybear at the Art Workers’ Guild in London last year for his. That they put just as much heart into playing my own songs as theirs is a genuine gift I’m deeply grateful for. I may be both a friend and collaborator, but above all else I am a true fan.

FOONYAP:
http://www.myspace.com/foonyap

HONEYBEAR:
http://www.myspace.com/honeybearmusic

By Mark Andrew (of the Hamiltons and Woodpigeon)

BOOK — A Kind of Intimacy by Jenn Ashworth

A Kind of Intimacy is Jenn Ashworth’s debut novel, and what a debut it is; in fact I’m ready for the film rumours straight away. This is a thriller for people who don’t like thrillers; a psychological study for people who love fiction. As soon as you open this book, you are drawn into protagonist Annie’s lonely, empty world, and more worryingly (as she narrates her past misdemeanours with an equivocal voice), you are drawn into her mind. She moves into a new neighbourhood, and tries tragically to ingratiate herself with her new neighbours; particularly the couple who live next door. There is Lucy, the young girlfriend, in whom Annie is not interested; and Neil, the victim of Annie’s affection around whom the grisly events unfold.  This is a book that has you squirming in your seat saying “No, Annie, don’t do that, go and get help,” just like her friend the saintly neighbourhood watch officer would say over a cup of tea and jammie dodger. Brilliantly, trotting through painful housewarming parties and cringe-worthy encounters in the street, Jenn Ashworth’s gift for (very) black comedy shines through. We learn through vague confessional descriptions of Annie’s past just how she got to this point, via a young marriage, a possibly phantom baby (at first making it hard for the reader to know what to believe) and a seedy alter-ego that will have you wincing uncomfortably. It comes together in a grim, bloody climax and really shocks. Annie’s voice is horribly familiar – sometimes she says something you’ve heard before, or even said yourself. A gripping read. Please, read this book – you are absolutely missing out if not.

By Ray Morgan