Suggestions in the Planning of a New Hotel

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The Ironic Machiavelli

The wussy child's handbook for gradeschool domination

Nasty Pleasures

A Great Disappointment

THE END JUSTIFIES THE MEANS

A Child's Machiavelli : A Primer on Power
Claudia Hart
Manufacturer: Studio
ProductGroup: Book
Binding: Hardcover
ASIN: 0670880213

Book Description

No matter your age, September signals a return to the shark-infested waters of school or workplace. Here is a darkly comic and enticingly designed primer for survival. Right in tune with the millennial thirst for power and sanctimonious view of children, A Child's Machiavelli--distilled from the sixteenth-century Italian political philosopher's notorious treatise--spells out intricacies of manipulation and domination in simple, straightforward language juxtaposed with sweetly pastel images appropriated from children's classics.

* Only give things away when people are watching * People who cheat are always more successful than people who are always honest * Make sure you only let people see you doing stuff where you come off really good * If somebody's got to hate you, make sure it's a bunch of weaklings with no money

As Machiavelli's Prince meets Antoine Saint-Exupery's Little Prince, it's easy as ABC to be politically savvy and savage at work or at play. Its tongue-in-cheek concept and mischievous format make A Child's Machiavelli a finely ironical key to maximizing your advantages and diminishing your rivals. What a wicked, decadent, delicious--and ruthlessly instructive--gift book!

Customer Reviews:

The Ironic Machiavelli.......2000-12-18

This book distills Machiavelli's cut-throat advice into the the simple language and context that a child can understand. It contains such gems as:

"When you take over some place, kill off everyone who's against you, pronto, then act really nice to everyone else."

The beauty of this book is that cute illustrations aside, it is hardly for children at all. Claudia Hart has cleverly transformed Machiavelli's formal discourse into the playground phrases of a primary school student. For example:

"If you want to take over some place, don't forget to kill not just the boss, but also all his kids!"

This book will appeal to anyone with a sense of irony and a love of history. Even fans of the master of real politik himself are bound to appreciate it.

The wussy child's handbook for gradeschool domination.......2000-09-28

Brillint, utterly brilliant. If only some thoughtful relative had given me this instead of Pat the Bunny for my fourth birthday, I might not have been subject to the despotic reign of my neighbor, Keenan McCoy for so many years. (Along with other things that are too horribly embarassing to mention, she used to pull down my mint green with white polka-dot polyester shorts and spank me bare-butted in full public view. Talk about a kid who knew about ruling by fear. Sheesh.) Anyways, for all you high school sophmores who were planning on weaseling out of reading The Prince and scanning the cliff notes an hour before class, this little number is a way better bet. It meets the required standard of hitting all the relevant points, but in about a twentieth of the time. Also, it is funny and has nifty Dick and Jane-esque illustrations resplendant in pink, yellow, and the same exact mint green of my aforementioned polyester shorts. All in all, it's a great little book that I am still kicking myself for not buying two years ago when I stumbled across it in a bookshop in Park Slope. Alas.

Nasty Pleasures.......2000-01-12

I am a fan of South Park and Beavis and Butthead, and this little bonbon follows in that tradition. It's not for kids but for the 'child within', and my child at least, has horns. Its a great guide book for everyone engaged in business, and I found it to be incredibly insightful!

A Great Disappointment.......2000-01-05

When I first read about this book I was very excited, but reality fell far short of my expectations. The text is in an awkward script font and the attempt to convey Machiavelli's concepts to an audience of "children" is stilted and insluting. The illustrations are garish, ugly reproductions from classic children's books (such as Alice in Wonderland) and rarely corrolate to the maxim they are meant to depict. Don't waste your time or money on this book.

THE END JUSTIFIES THE MEANS.......1999-03-05

Interesting book to hand a teenager

Book Description

This Berklee Workshop is designed for serious guitarists who want to sharpen their high register reading skills and take their playing expertise to the next level. It introduces studies in all keys, using positions 8 through 12 and all major, minor and symmetric scales. Individual studies consist of scale passages, arpeggios, intervals and notated chord sequences in various time signatures.

Customer Reviews:

A Perfect Complement.......2005-02-02

After buying "Reading Studies for Guitar" I knew that "Advanced Reading Studies for Guitar" would be a perfect companion. This second installment of reading studies covers positions 8-12. I can definitely say my playing level has been sharpened and I am now more confident about my playing abilities.

Single String Studies For Six String Bass Guitar

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Crazey

Single String Studies For Six String Bass Guitar
Bruce Arnold
Manufacturer: Muse Eek Publishing
ProductGroup: Book
Binding: Spiral-bound

General | Music | Entertainment | Subjects | Books
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ASIN: 1890944971
Release Date: 2004-05-04

Book Description

An excellent learning tool for both the beginner who has no experience reading music on the bass guitar, and the advanced student looking to improve their ledger line reading and general knowledge of each string of the bass. Each exercise concentrates a students attention of one string at a time. This allows a familiarity to form between the written pitch and where it can be found on the bass along with improving one's "feel" for jumping linearly across the fretboard.

Customer Reviews:

Crazey.......2006-10-23

Just learn melodies up and down a single string .
Then learn arpeggia , again on a single string .....
Another pointless ' jazz instructional book '

Book Description

This eye-opening anthology strives to bring to the table conversations about sexuality in the '90s as experienced by today's young adults. After all, they are the first generation of Americans whose outlook on sexuality has been shaped by condom ads and messages about AIDS on television, by accessible birth control at high school, and by the medical risk and possible fatal consequences of having unsafe sex. Written for young urban adults 18 to 35 years old, 2 Sex E (Too Sexy) is about the everyday discussions they have about sexual issues. And just like conversations in their daily lives, these essays are alternatively frank, funny, bittersweet, and hopeful.

Customer Reviews:

Hi-LARIOUS!.......1999-08-21

This collection of short stories had me laughing so hard, I busted a gut! The story, "Asian Penis," (doesn't leave much to the imagination, does it?) especially struck me -- not many people would dare discuss the issue, much less write a story.

Young, inexperienced people out there will find this collection of stories -- the mark of fine editing -- an invaluable resource as they explore the wild wasteland of their sexuality which awaits cultivation (If you are of the virginal variety, you NEED to read this field guide). Older, more experienced individuals will find themselves nodding in agreement as they remember their own exhilirating, perhaps twisted, adventures. I certainly did.

Prudes beware: You might be tempted to give this book 1 star or less, if possible, and dismiss the book as "trash" or "archaic and uninteresting" in light of the mass portrayal of sex today. This book deserves a spot in every sexually active adult's bookshelf -- it will make you laugh, make you think, make you cringe at times, but most of all, it will enrich your own sex life, bringing back to those jaded by the sexual act the sense of discovery, something we've all experienced (unless you havent... well, buy the book anyway and live it out vicariously).

Only for the completely naïve........1999-08-14

I couldn't give it less than one star. With the oversensitization of explicit material available today, this information is somewhat archaic and uninteresting. If you really want the book, stop by a garage sale and pick it up. I'm sure you'll find many copies. Look for it in my garage sale next week. Don't waste your money.

Book Description

"Cassidy's impressive, copious research has produced a new angle of vision on early television. . . . The book will be welcomed by numerous disciplines: film and television studies; journalism, communication, and media studies; women's studies; and American studies."

—Martha P. Nochimson, author of Screen Couple Chemistry: The Power of 2 and No End to Her: Soap Opera and the Female Subject

In this pathfinding book, based on original archival research, Marsha F. Cassidy offers the first thorough analysis of daytime television's earliest and most significant women's genres, appraising from a feminist perspective what women watched before soap opera rose to prominence.

After providing a comprehensive history of the early days of women's programming across the nation, Cassidy offers a critical discussion of the formats, programs, and celebrities that launched daytime TV in America—Kate Smith's variety show and the famed singer's unsuccessful transition from patriotic radio star to 1950s TV idol; the "charm boys" Garry Moore, Arthur Godfrey, and Art Linkletter, whose programs honored women's participation but in the process established the dominance of male hosts on TV; and the "misery shows" Strike It Rich and Glamour Girl and the controversy, both critical and legal, they stirred up.

Cassidy then turns to NBC's Home show, starring the urbane Arlene Francis, who infused the homemaking format with Manhattan sophistication, and the ambitious daily anthology drama Matinee Theater, which strove to differentiate itself from soap opera and become a national theater of the air. She concludes with an analysis of four popular audience participation shows of the era—the runaway hit Queen for a Day; Ralph Edwards's daytime show of surprises, It Could Be You; Who Do You Trust?, starring a youthful Johnny Carson; and The Big Payoff, featuring Bess Myerson, the country's first Jewish Miss America. Cassidy's close feminist reading of these shows clearly demonstrates how daytime TV mirrored the cultural pressures, inconsistencies, and ambiguities of the postwar era.

Customer Reviews:

An Important, Neglected Story in Pop Culture, Finely Told.......2006-04-19

"What Women Watched: Daytime Television in the 1950s" ought to be required reading for anyone with a serious interest in American popular culture as well as how America viewed women in the mid-20th century. (Full disclosure up front: I am the author of "The Encyclopedia of Daytime Television," and Ms. Cassidy generously quoted my work in her book, but I had nothing to do with her writing it.) Using a scholarly approach but writing for a general audience, Ms. Cassidy makes insightful judgments on a wide variety of shows aired daily on CBS and NBC and how they impacted the homemakers who watched them (ABC did not have a full daytime lineup until late 1958, and most of its shows were flops, so understandably the author did not focus on that network).

Ms. Cassidy uses a variety of sources for her notes on shows, from a great interview with Art Linkletter, who brings out all the affection he obviously had for hosting his "House Party" show on CBS from 1952 through 1969, to internal network programming notes from archives. The latter are particularly effective in illustrating how sensitive officials were at the time in trying to come up with programs that appealed to women without condescending to them (imagine that nowadays). The memos from NBC executives to producers of the now-forgotten "Glamour Girl" beauty hints show on how to improve the series amid reviews charging it with exploiting its participants are amazing all by themselves.

There's more than that in the book, of course. Perhaps most affecting, maybe even disturbing, are the observations the author makes about the leading "femshees" (program hostesses) of the time and the prejudices they faced from worried executives and sponsors. Kate Smith's obesity made advertisers feel uneasy about having her plug products intended to make women pretty, which led in part to her cancellation just a few years after being the #1 show on daytime TV. Arlene Francis had to "dumb down" her intelligence on "Home" in order to have housewives identify with her as both a saleslady and an interviewer of experts on family life. And Bess Myerson had to fight anti-Semitism as well as sexism just to be allowed to do little more than model furs on "The Big Payoff." Ms. Cassidy uses examples verbatim from copies of the shows she saw to emphasize her points, and they are excellent.

If there is any drawback to this book, one could carp about the lack of coverage of soap operas in depth. However, the serials were nowhere as pervasive on the network schedules then as they are now, and most were only 15 minutes long in the 1950s. It was the informational and variety programs which dominated the landscape the majority of the decade, and Ms. Cassidy is right to focus intensely on them.

It may be hard for a daytime viewer of today to accept that there was a time when NBC did live hour-long drama presentations each day on a series called "Matinee Theater," but it really happened. So too did shows by Dennis James, Garry Moore, Arthur Godfrey and many others. "The Jerry Springer Show" and the endless rounds of paternity tests on "Maury," among other excesses, could not have been imagined then.

Yes, folks, there was a time where executives worried about how to cater to the needs of daytime viewers rather than pander to the lowest common denominator as they tend to do with daytime shows today. If you doubt that, read "What Women Watched" to have this justified and put into proper persective for you, and maybe even somewhat sorry about how far we have NOT come in daytime programming 50 years later.

Charm Boys and Sob Stories.......2005-09-13

What Women Watched is an absorbing look at daytime television programming in the 1950s. As the decade began, less than 1 per cent of American households owned TVs, but by the end of the decade, 88 per cent had TVs in their homes. Author Marsha Cassidy explores how women in the post-World War II era were portrayed and how they were targeted as consumers.

Evening programming had sorted itself out quickly, with shows that appealed to the whole family: dramas, westerns, quiz shows, sitcoms. But daytime programming, not unlike many women after the war, had a hard time defining its role. Many local stations didn't even broadcast during the day. How could the advertisers ignore a market as large as the housewives of America? Many sponsors thought that they couldn't compete with radio because housewives busy doing their chores couldn't spare the time to sit in front of the TV. That's why many of the first daytime shows were variety shows imported from radio that featured music and chat, but nothing visually compelling. The first TV soaps were only fifteen minutes long, for fear that women wouldn't sit in front of the set any longer than that. Locally produced shows usually featured homemaking topics such as cooking, parenting, and sewing.

As the decade progressed, the networks hit their stride and came up with successful daytime shows. Variety shows such as Art Linkletter's House Party, The Garry Moore Show, and Arthur Godfrey Time sold plenty of appliances and soap. Dubbed "The Charm Boys," the dimply hosts of these shows appealed to women in much the same way David Cassidy and The Backstreet Boys would later appeal to their daughters and granddaughters.

There were also women hosts, most notably Arlene Francis and Kate Smith, but in spite of their enormous popularity on radio, their TV shows didn't last long. Cassidy devotes a chapter to each woman.

One type of show that is especially fascinating was the misery show, such as Queen for a Day, in which women with tales of personal misfortune competed for prizes. Contestants told genuinely sad stories of being abandoned and pregnant, or of their children who needed operations the family couldn't afford. Whoever best captured the audience's sympathy that day would win prizes provided by the sponsors. It was exploitative in a way that even Jerry Springer doesn't match. And Queen for a Day wasn't the only misery show. Strike It Rich awkwardly combined sob stories with trivia questions. Glamour Girl awarded a makeover to the most miserable contestant.

A striking exception to the race to appeal to the lowest common denominator was Matinee Theater, a daily afternoon teleplay. Many of the plays were original productions, others were adapted from Shakespeare or modern playwrights. By all accounts, it was a classy show, but it simply could not compete with the increasingly popular soaps. Strangely enough, soap operas were slow to get going on television, because they were still so popular on radio, and the network executives didn't want to risk transferring them to TV, where they might not work as well. In fact, soaps didn't work well at first on TV, because the producers forgot that it was TV and they just had people sitting around talking. There was no action, and on TV there has to be something to keep your attention on the screen.

As important as it is to remain visual, that is still only the second rule of TV. The first rule is that it has to make money. From the very beginning, the networks were focused on one thing, and if they pulled Matinee Theater off the air or extended the contract of schmaltz like Queen For A Day, it was because of the ratings. It helps to remember that there were no agendas, either noble or nefarious, other than selling soap.

What Women Watched: Daytime Television in the 1950s.(Book review): An article from: Journal of Broadcasting & Electronic Media

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What Women Watched: Daytime Television in the 1950s.(Book review): An article from: Journal of Broadcasting & Electronic Media
Erika Engstrom
Manufacturer: Thomson Gale
ProductGroup: Book
Binding: Digital
ASIN: B000L433YA
Release Date: 2007-07-11

Book Description

This digital document is an article from Journal of Broadcasting & Electronic Media, published by Thomson Gale on June 1, 2006. The length of the article is 1615 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: What Women Watched: Daytime Television in the 1950s.(Book review)
Author: Erika Engstrom
Publication: Journal of Broadcasting & Electronic Media (Magazine/Journal)
Date: June 1, 2006
Publisher: Thomson Gale
Volume: 50 Issue: 2 Page: 338(4)

Article Type: Book review

Distributed by Thomson Gale

What Women Watched: Daytime Television in the 1950s

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Whatever Sells the Soap

What Women Watched: Daytime Television in the 1950s
Marsha F. Cassidy
Manufacturer: University of Texas Press
ProductGroup: Book
Binding: Paperback
ASIN: B000ORM3KY

Customer Reviews:

Whatever Sells the Soap.......2007-08-06

What Women Watched is an absorbing look at daytime television programming in the 1950s. As the decade began, less than 1 per cent of American households owned TVs, but by the end of the decade, 88 per cent had TVs in their homes. Author Marsha Cassidy explores how women in the post-World War II era were portrayed and how they were targeted as consumers.

Evening programming had sorted itself out quickly, with shows that appealed to the whole family: dramas, westerns, quiz shows, sitcoms. But daytime programming, not unlike many women after the war, had a hard time defining its role. Many local stations didn't even broadcast during the day. How could the advertisers ignore a market as large as the housewives of America? Many sponsors thought that they couldn't compete with radio because housewives busy doing their chores couldn't spare the time to sit in front of the TV. That's why many of the first daytime shows were variety shows imported from radio that featured music and chat, but nothing visually compelling. The first TV soaps were only fifteen minutes long, for fear that women wouldn't sit in front of the set any longer than that. Locally produced shows usually featured homemaking topics such as cooking, parenting, and sewing.

As the decade progressed, the networks hit their stride and came up with successful daytime shows. Variety shows such as Art Linkletter's House Party, The Garry Moore Show, and Arthur Godfrey Time sold plenty of appliances and soap. Dubbed "The Charm Boys," the dimply hosts of these shows appealed to women in much the same way Bobby Sherman and Justin Timberlake would later appeal to their daughters and granddaughters.

There were also women hosts, most notably Arlene Francis and Kate Smith, but in spite of their enormous popularity on radio, their TV shows didn't last long. Cassidy devotes a chapter to each woman.

One type of show that is especially fascinating was the misery show, such as Queen for a Day, in which women with tales of personal misfortune competed for prizes. Contestants told genuinely sad stories of being abandoned and pregnant, or of their children who needed operations the family couldn't afford. Whoever best captured the audience's sympathy that day would win prizes provided by the sponsors. It was exploitative in a way that even Jerry Springer doesn't match. And Queen for a Day wasn't the only misery show. Strike It Rich awkwardly combined sob stories with trivia questions. Glamour Girl awarded a makeover to the most miserable contestant.

A striking exception to the race to appeal to the lowest common denominator was Matinee Theater, a daily afternoon teleplay. Many of the plays were original productions, others were adapted from Shakespeare or modern playwrights. By all accounts, it was a classy show, but it simply could not compete with the increasingly popular soaps. Strangely enough, soap operas were slow to get going on television, because they were still so popular on radio, and the network executives didn't want to risk transferring them to TV, where they might not work as well. In fact, soaps didn't work well at first on TV, because the producers forgot that it was TV and they just had people sitting around talking. There was no action, and on TV there has to be something to keep your attention on the screen.

As important as it is to remain visual, that is still only the second rule of TV. The first rule is that it has to make money. From the very beginning, the networks were focused on one thing, and if they pulled Matinee Theater off the air or extended the contract of schmaltz like Queen For A Day, it was because of the ratings. It helps to remember that there were no agendas, either noble or nefarious, other than selling soap.

Book Description

An astonishing collection of images so vibrant they seem poised to fly off the page.

In a place where art, science and technology meet, Joseph Scheer's images of moths emerge. These ubiquitous creatures are often considered drab-colored poor relations of the "beautiful" butterfly; Scheer's artwork will forever change that notion. By using a high-resolution scanner, recently developed digital printing technology, and an artist's sensibility, he brings forth the subtleties and astonishing varieties of color and textures that moths possess. The result is a glittering jewel box of brilliantly colored, intricately formed creatures, each with its own landscape of tiny hairs, kaleidoscopic color, iridescent eyes and antennae as intricate as filigree.

Scheer's moth experiments started out as a fine art print installation to show a range of insects at large scale in a single room, and have now expanded into a biodiversity project with a significant number of specimens. This exquisitely produced volume features one hundred and fifty prints selected from Scheer's extensive collection, images of such incredible depth and color you'll want to reach out and touch them. Certainly you'll never look at a moth the same way again.

Customer Reviews:

Reality Check.......2007-07-11

This book is simply amazing--and I love that the emphasis is simply on the beauty of the moth. I would recommend it as a gift for anyone who will appreciate being reminded of the miraculous beauty of that which we bypass(or worse...swat at) every day. A fantastically wonderful reality check.

capturing and killing beauty.......2005-12-12

A nice pair of close-up binoculars, a flashlight and boots could be a lot more exciting and respectful of these animals than drying them up just to copy their evolutionary path and call it art. The three stars are for the benefit of those who would have never known such creatures exist, that much this book has done. Why not get a microscope and take photos of bacteria, or take photos of metal detector screens. I prefer my animals alive in their habitat, and my art to really say something. Check out naturephotographers dot net. Now there is photography of nature.

The beauty I overlooked.......2005-11-07

Joseph Sheer has used his expertise in the electronic arts-scanning and digital imaging-to produce an amazing collection of colorful, vivid images of moths. Very simply, "Night Visions" contains stupendous color plates and would appeal to anyone, especially those interested in macro imaging or the study of Lepidoptera (butterflies, skippers and moths).

The book begins with three introductory chapters (like forewords), the first by Mr. Sheer explaining his interest in moths and his techniques for trapping them and scanning them for print images. Lepidopterist Marc Epstein follows with a four-page mini-course in moth types, habits and markings, after which Johanna Drucker briefly describes the evolution of image making that brought us to the scanning technology which produced this book. I enjoyed the first two sections the best since I became interested in moths upon seeing this book.

There are over 70 color plates, mostly displaying the moths enlarged so that each wingspan extends to just about one full page in width (depending on the moth, that's a magnification ranging from 2.5x to over 20x). In addition, where aspects of a moth's coloration or texture is particularly fascinating, a secondary blow-up, many times the initial enlargement, is displayed alongside in order to give perspective to the detail. In every case, the result is a photograph that is amazing in terms of clarity, color and detail. I've never seen anything like this.

A nice bonus can be found in the last twelve pages, which have another 150-plus 1" x 2" photos of moths, arranged by family (Sphinx moths, Tiger moths, Owlet, etc.) so that an easier comparison of characteristics can be made to introduce the reader to the different family types. I thought this added a nice educational complement to the big images. The construction of the book is first-rate, with durable, thick and glossy print stock. "Night Visions" is bound to fascinate just about anyone.

Astonishing state of the art color scanning.......2005-04-02

The front and back covers of this book are not mirror images of each other. They are continuous parts of a scan that is 12 inches tall and about 36 inches long, including the flaps in the front and back covers. The body of the moth is not clear along the spine of the book, but the light hairs extending an inch or more from dark shoulder pads are similar to the pattern of Grammia virgo on Plate 18. This print of the entire moth measures six and a half inches between spots that are shown on the inner flaps, so the cover must be zooming in with a power of five on the size of a full page moth in this book. The virgin tiger moth shown in the tiny version of that scan on page 110 has a wingspan of 6.2 cm. It is amazing how intense the colors become as the picture is electronically exploded to twenty-five times actual size, and fine red hairs can be seen crossing yellow wing membrane.

On Plate 18, the antennae curve like an antelope's antler, with tiny offshoots like eyelashes. The wings look as fuzzy as moths are expected to be, with fine hairs projecting into the space between the wings and the body. The long cover scan is so well focused on the hairs at the glass of the scanner that the gap between body and wing is hardly noticeable, except on the back cover, where distinct hairs over a white background approach the rounded red shape of the moth's body. The intricate parts of the wings look flaky, but the scanning technique emphasizes the shapes and colors of discrete objects on the surface of the glass much more than how three-dimensional anything is. Legs might be blurry, as in plate 43, Magusa orbifera, or extremely hairy when they are featured, as on plate 44, Zanclognatha laevigata, looking like a combination of feathers and spiky thorns.

Weird is the 11 and 1/2 by 18 inch scan of Geina tenuidactyla on plate 59, which looks like it has five or six feathers on each side, striped curvy antennae, and legs with long spines at the joints. Wingspan is actually 1.1 cm, so the scan is magnified about 40 times, and the strange features of the Pterophoridae family are explained on page 116. "They are mostly small moths with long slender legs. At rest the wings are rolled in a T-shape at right angles to its body. The forewing is deeply notched and the hindwing is divided into three fringed lobes resembling plumes." It really helps to have the small pictures at the back of the book, which more closely resemble what you are expecting to see whenever you view a moth in real life.

WOW!.......2004-03-22

This is one of the most remarkable books that I have encountered in a long long time. An artist friend who is aware of my tripartite interest in science, technology, and the arts grabbed me in the cafeteria last month & said that I "had to take a look at this". She was absolutely right. No, this ISN'T a scientific treatise on moths or a discourse on the natural history of insects, and one certainly wouldn't want to take it into the field to identify even the moths of the relatively small area sampled, BUT THAT ISN'T THE POINT! Instead one is treated to stunning imagery of animals that most of us either ignore entirely or slaughter with "bug-zappers" and poisons & seldom if ever grant the benefit of a second glance. Thanks to Scheer my children & I have had some very pleasant sessions simply sitting & turning the pages & the most frequent comment is the title of this review. "Wow!" indeed. Also Bravo to Scheer for giving us a wonderful look at a little seen & greatly under-appreciated subject.

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