Conners Advice - buy a ukelele. I think I will, thank you very much.

The best thing I saw today - a girl with calculus book balanced on top of her head descending a staircase. Like nothing was wrong! It was a really happy moment for me, my frown turned into a smile.

"Dummy Discards A Heart" - Sing to the east, sing to the west, sing to the one you love the best. GOddamn. I love this song. I remember putting it on headphones the dark and drippy part of this last spring and running part of the way to school. I am so happy it is on this cd. I listened to Apple O' a good twenty times, I think. That's a really high number for me.

For some reason, Mark E. Smith is always there for me. The Fall is the only band that will cure bottomless depression in an instant. I've never felt better in my life.

Captain Beefheart - Mr. Zoot Horn Rollo, hit that long, lunar note and let it float.

(he does)

Reasons why college rules:

1. My roommate Jesus made coffee.
2. I can close the door and dance and nobody will open it, except me. When I'm done dancing.
3. Lightning Bolt has an album called "Wonderful Rainbow" it is the thrashiest megapunk that will ever exist.
4. I am going to dance now. I haven't had caffeine in nearly a week.

YOU KNOW WHAT RECORD CALIFORNIA ADIOS WOULD HAVE BEEN!!!!!!

Have you ever heard of a band named R.E.M.?

They have this album called "Life's Rich Pageant" and its great. There's a certain rising of the voice above the other instruments, in the melody, not the mix. The meldodies are a lot more 'oh yeah, i remember this' than 'I'm not going to be able to forget this' (not that that's a good thing). In a lot of ways it feels like a gospel album because of the voice's prominence and seemingly simple themes. But its not, I can't tell you why. I think its really interesting that CA would have certainly turned out like this. REM were considered punk at one time, or if not, really energetic college radioids. So is/was James Rabbit. You know. You were there at our show, right?

But anyway its the way the choruses work. They are short, but long. And memorable. But the other part is the way other parts of the song work like choruses because the two have so much in common. Does any of that make sense? So we'd be REM but without a guitar player and without a singer. Also with more weird random stuff happening. I swear it would have more weird random stuff. People would be talking about the bridge in "Wasting Away", let me tell you that. I'm half tempted to finish up the songs we have rhythm tracks for.

Also, remind me to talk about how my music eventually lost the ability to be overpowered. That's how I did the proving myself album with "distracted" forgetting to add anything interesting, I don't know, compare Space Rock Record's "Capitol Day" to Le Fou's "Isolated Mines" and it will make sense. There's no displacement, only like an addition. And the drums aren't the whole difference.

Several things-

1) Inspiration versus accomplishment-

The first Os Mutantes album still blows me away by what they do with guitars. We got part of it right in "Static" thanks in no small part to Grayson and I being insane when we get together.
Andy McCluskey and Kevin Rowland are my two favorite singers. I think some songs on Rodeo Radio captured me as them.

2) I don't care who I have to team up with, I have to start a band here, I have to make music.

Good night.

Computer is set up. I don't have any audio things or instruments here. I snuck into the music building today and played a piano for a while (the only other piano I have found is located next to a giant television that is always on). I have not met any musicians yet, though I heard someone practicing the saxophone.

I have begun the process towards becoming a DJ. 20 hours of volunteer work, one quarter of communications class, talking to the review board, in that order. I figure I'll spend a lot of free time at the station, getting to know the DJs and filing records. I'm pretty excited. Otherwise, I figure I'll have to get a job of some other sort before this DJ thing starts up.

I have yet to formulate my conquering of Santa Cruz. But our lady by the sea will fall. Fall hard. Hard in love with this dude.

Why do bands play live?

Is it because they want to be seen?

Obviously there's a big thing here, the rift between art and audience. Theres the creation, the work of art, and then there's the public, the receptors. I'm the tree falling in the woods. And not making a sound. Obviously nobody knows any James Rabbit songs, they're only played in my computer's headphones and probably about three other pairs of headphones across Fresno (seriously though, localized within a square between Shields and Olive and Palm and Blackstone). So it follows that I would want to get my sound out there, right? Well here's the problems there:

#1. Capturing the sound in my mind and putting it on record. The stuff that you end up hearing is usually a compromise between what my brain wants to hear and what I am capable of playing. My hands are probably five or six years musically behind my brain. This is made worse by:

#2. The inability to work with others. James Rabbit was around for two and a half years before Conner and I started playing together. This doesn't seem unreasonable until you consider that we both have (had) gallons of free time and are both musicians and both like the same kind of music and talk about music all the time and sleep about twenty feet away from each other. This is how the dialogue went whenever we worked together (before it started working somewhere before Heart of Gold):

Tyler - Okay, give me something like 'boom boom chak boom badda boom chawk'
Conner - I don't know what you want
Tyler - Just take what I'm playing and fill it in, but not too much
Conner - like this? (plays)
Tyler - I'm sorry, Smash Mouth called, they want their idea back
Conner - what?
Tyler - Just play better
Conner - like this? (plays)
Tyler - yeah, but not so fast
Conner - like this? (plays)
Tyler - Okay, now its too slow
Conner - how about this? (plays)
Tyler - Yeah, still too slow, go back to earlier when I said it was too fast.
Conner - like this? (plays)
Tyler - and now you are playing the wrong thing
Conner - what were we playing again?
Tyler - "Charming"
Conner - which one is that? erg. Lets get some soda.
(they leave)

I mean, its since worked out, and now we have good playing together, but this is after having lived together forever and constantly arguing with each other etcetera etcetera. Anyway, working with other people doesn't work for me. First, right after everybodies shown up and tuned up, its a democracy, we all think for ourselves, then its apparent that it won't work that way because we aren't a jazz band. We're a pop band and pop music is made by eccentric geniuses not entirely unrelated to dictators in spirit. Pop music isn't screaming teenage girls and posters (or the indie equivalent, mumbling teenage girls and patches), thats the cultural byproduct. Pop music is Phil Spector trapping the Ramones at gunpoint, the moment where it stops being about your personality and starts being about MY personality. Most college age kids around here don't like being yelled at, especially not the ones that I have tricked into coming over to my house to 'jam' (there's a deathly democracy word if ever there was one). All of a sudden, johnny college is forced to forget his "Freebird" in favor of 'build the c minor up, and move it reluctantly up to an e flat', it doesn't translate well.

Here's a problem then, I need session musicians but don't have any money. Also, and more pressing of a pickle, is the fact that even if I could afford sweaty forty year olds with a beverage holder and a schedule, I wouldn't know what to tell them. 'solo here', 'follow the other trumpets', 'sound like you are falling down while playing', that's what I think to myself when I pick up whatever instrument. But you know what goes on when that happens...

#3. I have no money. The 'starving musician' thing means that I don't have money, even for amps or mods or pedals or plugs or cords. I, myself, own a keyboard and a trumpet. My money is spent on food when I can afford it and blank cds, when I'm not hungry.

#4. There is no demand. I guess that is created with presence though. We can't just establish ourselves like that, no matter how many copies of Le Fou I blanket the streets with.

#5. We aren't ready. One of my gifts/flaws is that, especially when it comes to sound, I can empathize with people really well, but I can't do anything about it. Like I knew when we played "Lost" they dug it, of course they did. But a song like "Bonnie" with not as much to grab onto they didn't. There's a certain sinking feeling that when I'm writing/performing something, it won't be good enough, and what I'm currently playing is just filler for when the good idea shows up. When the people near the back said 'where's your guitarist'? they meant 'where's your distortion?', that's the part I would have written, it would have been as simple as telling them 'C Ab F Eb Gm', because there's nothing really to play there otherwise. We have to fill up the space, even if it means doing it unexcitingly. I mean, isn't that how it goes? Guitars play what the bass plays, but maybe with an extra note a fifth above? And if we're arty, we'll add the third for good measure. But seriously, this the-guitar-is-just-as-good-as-Spector thing is total shit. Screw guitars, give me DRUMS and lots of them. Start a band with five drummers and an organ and a piano and a choir. Throw your guitars out. The bass can stay.

Next, there is to be addressed why I make music:

I've used this explanation before. Its like an addiction. I need it, and I need it frequently. I've had pretty bad freakouts before where if I can't make music for a long time, I'll just shut down. I have to create, I have to constantly be making something. If I'm not playing on the keyboard or guitar, I'm writing a song, or maybe thinking of a song that I've recently heard that I could possibly steal something from. Its ironic, every time I've gone to music camp, I've felt this panic, because playing with wind ensemble or something you just aren't creating, you are interpreting. That's like asking James Rabbit to play covers. Yeah, it would be great if people knew the songs we were playing before we told them, but that's not the point. I have a demon sitting over my shoulder saying 'go go go go go go go' and he only sometimes allows for me to pause to learn the chords to "Desperado". And I'm not about to ruin that song just so the drunk guy in the back can sing along.

So here's what it comes down to:
Album artist: next to zero recognition. I'm 'james rabbit', the dork that passes out cds to everyone that wants them, and many that don't. I get many reactions varying from 'i'm sorry i don't know how to say I didn't listen to it/didn't like it' to 'it was good'. I guess I'm happy that some people are somewhat happy with what I've done.
Performing artist: some recognition. I'm 'James Rabbit!', the dude that plays punk songs (I am simultaneously honored and insulted by this) and freaks out sometimes onstage. Girls tolerate me, guys hate that I write better songs than them, all are equally likely to leave in the middle of the set. The reaction I get is 'when are you playing again?'.

Probably never, but not because I don't want to, because James Rabbit isn't really a live band. Yeah, I get all adrenalined up, and yeah, its cool when people clap (they don't clap for your record, let me tell you that), but these things can be accomplished outside of the James Rabbit universe. Conner has his All Dead. They played a show tonight (saturday night), he tells me he was allowed to take over a song. I don't know exactly what that means, but I know what it sounded like.

When I was recording Rodeo Radio I obviously wasn't thinking about playing it live, I was thinking about how I'm going to fill this song out, or how I'm going to approach the next song, it was about living past the moment, and that's what those ten copies of the cd are going to do, whether or not I make good decisions on who to give them to. Obviously they aren't Pet Sounds or Sgt. Peppers, they are more like reminders. When "Zombie Bones" smirks at you, and the chorus of "Only With Models" kicks in, and when "Politics" smacks you on the head with MORE falsetto of course I'm not Brian Wilson, not even Ric Ocasek, but you know that something is going on there. And I know that something is going on there. And until I can stop writing obtuse lyrics and embrace honesty and find people to sing my songs and other people to play my music, I've got to keep these otherwise brilliant ideas on hold somewhere.

So the show last night went pretty good. I broke a string around the fourth or fifth song and had to play the rest of the first set just sliding up and down the E string, but I'm sure everybody enjoyed it nonetheless. Trevor and I had to run back to Fresno (from Sanger) to get a new bass, because it was late and no guitar stores were open, but we played the second set okay. The new album, "Rodeo Radio" is being burned as we speak, so if you usually get copies, you'll get yours...

ANOTHER GO AT IT--

WHAT A RIP - In Sterlings opinion he sounds gayer with each verse. BELLS - 'progressive' means unnerving transitions I think. YOU BEG FORGIVENESS - I don't know what the bass is thinking, but I like it. YOUR NO MECHANIC - the guitar sound in the background makes the rest of the song sound like narration of the preview for a documentary. THREE PART HANDS - there's no actual three parts, just two parts with another at the end, like taking a walk with your friend and then a bum comes up and asks for change. OXYGEN - I cannot for the life of me understand what I am saying in the second verse. AWKWARDLY FASCINATING - okay, first remove the song from its title and forget about it. Next, remove the Hulk movie from your mind. Now, picture having previously been struck with radiation and all of a sudden realizing that you have to keep it cool, but everything seems to tick you off. ZOMBIE BONES - the horror movie where the monster doesn't realize his role. TRAPPED UP HERE - even though the song is about being lonely, its sung by two people with hand claps. JUST A LITTLE FALLING DOWN - I like specific lyrics a lot. NO GREAT LAKES - if I read the lyrics to 2000 me he would have been incredibly impressed. SO IM SICK - probably unfortunatly the perfect portrait of me at the moment (the moment it was recorded). ROOM IN THE CRATER - a love song and a threat alternatingly. PALE SKINNED LIFE - the second verse is almost perfect. SOMETHING LIKE FORGIVENESS - I seriously didn't know these were keyboard sounds until I thought about it, but I don't know what else I would have thought they were. INIT - this is seriously the most powerful saxophone solo ever, it pushes everything out of the way. I swear it never did that before. DELTA BLUE - I say 'switch', and then the song kind of resets itself like a verse later. CREEPY - the song moves like a narrative, but instead of a story its isolated incidents, (seriously it works differently than in all of my other songs where this happens). GULF GETS ECSTATIC - I like how it does a mini Baba O' Reilly. ABRS - see the very end of "Steven is Dead". LOST TO FOUND - for some reason it sounds different each time the organ part in the background jumps up to the last triumphant note at the end of each phrase. JUST IMPOSSIBLE - personal reaction to an impersonal non-occurence. A TEMPO - the music is so percussive itself, the drums don't matter much. POLITICS - probably not as much a ballad as I envision it. TAR PAPER SHACK - I don't know if the rhythm being slightly off at the bridge matters, I hope it doesn't.

What A Rip is the best opener. I didn't realize how similar Awkwardly Fascinating and No Great Lakes sounded. Creepy and Gulf Gets Ecstatic work okay together but don't let me know that. I am happy with this tracklisting, even though it almost skips completely the tourism portion of the album.

SO HERE"S WHAT I"M DOING RIGHT NOW.

I'm randomly generating a playlist for the new album and writing something about the songs as I hear them.

TRAPPED UP HERE - the lyrics are gusto the claps are apprehension. FIVE O CLOCK BABY - there's adventure in the guitars at the end. BELLS - this song is about assertion. EXPERT PROOF - the beginning feels like a frolic, the end feels triumphant. MEXICAN MISSILE SILO - why vixens? MERCEDES - its funny cause its obvious. GULF GETS ECSTATIC - like a good experiment, its more conversational than isolated. DANGEROUS - this is the most exciting keyboard sound ever. DISGUISE - the beginning lies. CAPRICORN LOSING FOCUS - the music sounds rushed, the lyrics sound too slow. YOU BEG FORGIVENESS - bridge rips off two others, I should rip off obscure artists more if I can get away with it this well. HONEY IM A RECLUSE - punk marching band telephone duet. THREE PART HANDS - same tempo throughout, but doubles and halves in speed. CREEPY - a rap read like a telegram. ONLY WITH MODELS - preschooler bridge for the lonely. LOST TO FOUND - how the bass follows the voice. INIT - cheerleader for the computer programmer. BETTER - feels like a song you'd sing after winning a baseball game. MEANNESS ON THE VELDT - like running from an rhino with its horn in your side. GRATITUDE PHONE - an audio hug, performed by a drunk and his keyboard. IGNEOUS SIGNS - analogy between romance and geology. A TEMPO - mahler stuck in corgan's nineties. DELTA BLUE - i don't care if anyone else gets this to me its like the worlds cutest kitten telling you a dirty joke. MEDICATION - salvation in spurts. THIS SAFELY - the best lyric is sung over, 'minimum drinks in caution bars'.

I'm scared a lot of how this works because some songs sound great with others while they sound terrible next to another. Random generation means we get stuff like the lyric 'dangerous disguise' happening right after the song 'Dangerous' and songs with oohs next to each other. Its cool from my perspective at how I'm looking forward to certain songs, but there's a fifty fifty (actually like 45:55) chance of any given song being on the album, so I have to settle for the others, but then I end up being pleasantly surprised. "Dangerous" rocks my socks, the surprise hit of the album for me.

I have to sleep with the television on for noise, I usually sleep with the fan on also, but these past couple nights its been too cold to sleep with it on. I'm way too afraid to listen to music while I sleep.

We are actually going to murder people with sound this friday. We have material enough for about an hour of FUCKING KILLING YOU WITH AWESOMENESS. Seriously. Have you heard "California Adios"? No, nobody has. What about "Modern Suckers"? or were you put off by the keyboard? Okay. Well then. Here comes the brilliant. I'm pretty sure there will be no set list, we'll play them the new stuff, we'll play them the old stuff, we'll lie and say we can play any song they'll ask us to, we'll play it the only speed we know, WARP SPEED. I don't even care if people listen.

My cd burner has died. This is pretty bad news. We burn(ed) anywhere between three and ten cds a day for two and a half years. James Rabbit was self-sufficient in this department for twelve albums, from Space Rock Record to Le Fou, and now, in the final (Fresno) hours, the cd burner, possibly the only piece of actual music equipment that I own, has died.

The album I talked about on the Pitas site (Arsenal) was too frustrating for us to continue with, so that was scrapped after a song. Basically what that was going to be was Conner and I working out a groove and then recording the drum part and then recording the bass part and the rest. The problem was Conner didn't want to stick to the groove robot style, he wanted to solo, and I couldn't play the basslines that I had written. Most of the beginning stages are still sitting around on the computer in case I want to work on any of that later.

So I am completing another album. Its more like Hello London than any of the stuff I have been doing recently. Basically I make up songs and then make up lyrics. There's some really cool harmonies and really cool ideas. Obviously its not a good rocking out album on par with Trauma Season, but theres a decent mix of sounds from a capella clap alongs to shoegazer keyboard mopes. A couple of the songs I had other people sing, although it was mostly a solitary affair, recorded between the hours of eleven pm to five am. It was recorded in about the same time as Hello London (four days) but there are fifty songs on this one. There won't be fifty songs on the cd, because that would be ridiculous. My plan is to put twenty five songs, chosen randomly, into a random order, on each CD. Each CD then, will be different and special and yours.

Conner and I will be playing a live show this Friday at a party. We've been practicing songs from Trauma Season and Le Fou mainly, a couple from California Adios and some earlier stuff, he's wanted to do a couple Blizzard songs. We're just going to go at it with drums, bass and vocals. Some of the basslines are really hard to play with the vocals, "Obvious" for example, seems to hit just right there between where each note of the vocal rhythm hits. So it will be like listening to the albums louder, with fewer instruments and me screwing up lyrics/singing way off key. It will be interesting to see how I react to the crowd/crowd reacts to me. Usually me perfoming lives falls somewhere between total rockstar and embarassing dork, oftentimes theres no difference. I need people to be paying attention to me when I'm performing. With Sex Funeral I was able to demand it. But now I'll have to be thinking 'oh, what was that? D minor to B flat major??' as opposed to 'there's someone not paying attention, lets accost him.' So instead of gettin all up in his business I'll have to remain steadfast in mine.

Its hard for me to come to terms with the fact that nobody likes James Rabbit as much as I do
, I don't even like James Rabbit that much (okay, Trauma Season is brilliant, and Sea of Tranquility is the greatest bedroom pop album ever made). Maybe its others lackluster fandom that I take issue with, then again I haven't given fans much of a chance... Seriously, I'm going to get better at that. Usually whenever people give me some sort of response to something I've just given them, they'll say something like 'yeah, its cool', even though I know they're listening to the new Postal Service, or whatever it is they listen to. But I have to accept that. Even if Trauma Season is miles better than that stuff I have to accept that there's a certain level of hip that people aspire to, and James Rabbit doesn't fulfill that hipness quotient. Sure its exclusive, but not in a good way. I mean, listening to a James Rabbit cd, you might as well be carrying around your little brothers demo tape. There has to be demand, and not just some weird dude with glasses telling you he's a genius and to 'give it a listen'.

This is getting a little better though. I'm a lot more likely to believe that someone likes Le Fou over Shordata, for example. Getting the CDs out is still a problem, I can give them out to acquaintances, but its hard getting a straight answer out of them, as they don't tend to listen to my music. I can give them out to strangers, but then I never hear from them again. I can give them out to friends, but usually they are involved in the cd and have heard parts of it anyway. The friends department seems to be the most fulfilling of these, even though none of them take me seriously. I'm the 'silly music guy'. If that. Probably just 'the isolated dork that records fifty songs because he wants to'. And thats it. I'm not really a musician cause I can't play any instruments, I'm not a composer because I can't read or write music. I'm not a singer because I can't sing. I'm not a writer because I can't write. Its me and my albums. And my broken CD Burner.

ANYWAY. New album out around the end of the week. Brilliant concept. Adequate delivery. I'll probably make ten copies.

Next on the worry list : being a literature major who doesn't read books.

Receiving positive feedback about the album. I am happy that people like "Community", and equally happy that they accept "Goes Wild" as the slam-bang wonder of an opener it is. Duh they don't like certain parts, but I'm happy they are telling me.

As I told Conner this morning, Trauma Season had better songs, but Le Fou had better decorations. Others have agreed with me that Le Fou will be the more popular album, and it wasn't a failure, because we got it done. Trauma Season was kind of a better experience because we worked with fewer songs and thus they were our babies. Due to the 'thinner' nature of the songs, we had more free space on the computer ("Chateau" took up probably 80 megabytes, "Half Hearted Holiness" took up about 600), so we were able to have up to five songs at a time, so they were given similar adornments. Anyway, here's a top-of-my-head opinion of what the songs mean to me and what I think they mean to other people.

Taking sides- Trauma Season versus Le Fou

Opener -
"Lost" versus "Goes Wild"
As brilliant as the lyrics are in "Goes Wild" people don't give a spit for that (otherwise people would have listened to me before Trauma Season), "Lost" has the upper hand. It has a chorus, it has an awesome latin drum part, it has a four-different-trumpets trumpet solo, it has a faux timbale solo, it has a repeated bridge, as opposed to "Goes Wild"'s C - G x 800, + guitars keyboards and trumpets trading off. "Lost" is catchy weird latin pop, "Goes Wild" is heavy two chord prog.
Winner - "Lost"

First (ordinally) hooky song-
"Monsoon" versus "Confidence"
This is interesting, because these are both songs with crazy azz drum parts. "Monsoon" features an alien who has never heard of rhythm battering toms, and "Confidence" has the bizarre off-rhythm punk hits. "Confidence" wins there on sheer unbelivability. "Monsoon"'s guitars are better than "Confidence"'s dampened piano, but "Confidence" wins with the marching band in the second verse. "Monsoon" has an awesome techno-off at the end, "Confidence" has the repeated chorus thing that's soon to be played out with le fou.
Tie

Big pop hit-
"Solid" versus "Half Hearted Holiness"
Both employ cheap shots as choruses. Solid's is a cliche waiting to happen, HHH horns in on Horn. Solid's verses are much more solid than Half Hearted's half hearted potshots at organized religion. In terms of quotability, Solid wins there, 'I'm solid like a rock/ but vacant like a haunted house', 'My dreams are so decayed/ for you to come and go away' versus 'She sits and shops on my account /lace and platinum giving out'. They both have weak bridges.
winner - solid

The Bridge versus The Ending
"Weekend", "Spite", "Combustion" versus "Obvious", "Isolated Mines", "Lately You've been Independent"
Weekend, as per the song, is concise, to-the-point bliss. Spite is the kind of gospel I strived for with the end of "Better Luck", Combustion is the first sucessful meeting of the neptunes and indie.
Obvious is wonderful prog bass drummery, Isolated Mines is the earth stomping back at you, Lately You've been independent is choir boy posing.
Since my big kick recently has been screwing with song structure, and endings are essentially just tacked on, I'm going to give Trauma Season this one.
winner - Trauma Season

Surprise hit-
"Chateau" versus "40 Guns"
40 guns is betterthanradiohead radiohead. But what radiohead are going for isn't that admirable, who needs the nineties back anyway. "Chateau" is a nineteen year old looking back on life like he's a fifty year old man and it contains the greatest guitar solo I will ever play.
winner - Chateau

Token throwaway track-
"Colombia" versus "Temporary Love"
This is tough. I thought about disqualifying Colombia, as its a little too long and one of the best songs on Trauma Season, but Temporary Love is proving to be one of the more popular Le Fou tracks, so en guarde! Well they both suffer out of the gate from bad lyrical content. Colombia is lame abstraction and also a little bit of a cheap shot as an homage of sorts to the shuttle. Temporary Love is a STB-type classist riff. Colombia has the flute, Temporary Love has the trumpets. Temporary Love's chorus is better and more repetitive, so it wins.
Winner - Temporary Love.

Cool slow song-
"Academy" versus "Danube"
They both have cello. Academy picks up at the end. Danube has like twelve different instruments. They both have cool bass-drum interplay. Academy is more dumb-sentimental though, so it wins.
Winner - Academy

Closer-
"Maniac" versus "Better Luck"
Okay, the themes of these ones are pretty obvious. Maniac follows suit with Solid and says I'm a bad guy so don't listen to me. It ends with a raging inferno and my mom yelling for us to stop. Better Luck searches for meaning and a future. It also does so with about thirteen minutes of call and response vocals at the end. The fever doesn't approach Maniac's but the community beats it.
Winner - Better Luck

So Trauma Season wins, 5-2-1. Its a stronger, more diverse and more turbulent, therefore more me album. But Le Fou is still a stone cold classic. Maybe I should compare them both with the no-radar JPITD and then the never-was California Adios. Maybe. You'll be hearing about it.