The Nick Cave Top 75 Countdown (#06-04) & This Week's Statistics

Hello, my friends, old and new! This is the penultimate chapter of the Nick Cave countdown. Only three songs for today, but all three are great!

Before the Nick Cave countdown continues, however, this is our bonus track, from one of the soundtracks that Cave wrote in his long and illustrious career. In 2017, Cave and his soundtrack-writing partner Warren Ellis scored three films and we'll hear them all. Kings was a socially conscious drama that somehow misfired, even though it was directed by the talented Turkish woman Deniz Gamze Ergüven (Mustang) and starred Halle Berry and Daniel Craig. The soundtrack, however, wasn't one of the film's problems. Here's part of it:

Now, let's get on with the top six. Full disclosure: I like all three of today's songs more or less the same. The song at #6 could easily have been at #4, if only for my resolve to have the top 5 include just one song per album. And since there's another song from Nick Cave & The Bad Seeds' wonderful album, Let Love In (1994), that I like more, I'm afraid that this masterpiece finds itself "only" at #6.

CLANG!!! The gothic western funeral bell heralded the arrival of seductive Old Nick, all black coat and hidden claw, conjuring his "catastrophic plan" for humankind over a voodoo skulk as ominous and full of threat as a demonic decree. The title, Red Right Hand, comes from John Milton's epic poem Paradise Lost, in which it refers to the vengeful hand of God. Which in turn appears to be Milton's translation of the term "rubente dextra" in Horace's Ode i.2,2-3.

This, for the most part, is the soundtrack to a nightmare. Cave and the band effectively create a soundscape and unique lyrical content that sets a spooky yet compelling mood. Fans of this band are not expecting sunshine pop and this is one of the most prime examples of the group's sonic and thematic territory.

While a lot of Cave's "evil" songs deliberately blur the line between pure evil and campy fun, Red Right Hand is pure evil, sinister and mysterious. In contrast, that spooky jazzy groove is the very embodiment of restrained cool. Unsurprisingly, a regular fixture on slasher movie soundtracks, the song warns of a supernatural figure living "on the edge of town" with few good intentions. It was used in Scream, among others, but its most fitting appearance came on an episode of The X-Files. The X-Files producer Chris Carter explained that the song was the direct inspiration for the anthology.

This is what Howe Gelb of Giant Sand has to say about the song:

"My wife first brought that song to my attention and suggested that Giant Sand should do it. The lyric content is maniacal. Dubious. A cold sweat begins to break out when you wonder how that hand got so red. But the melodic slant is strangely celebrational - especially the cool turning point in the middle when the big bells come out. That shit is classic, right up there with the best jazz standards. When that bell hits, it's that tolling bell that's always in songs, like Kris Kristofferson's Sunday Morning Coming Down - 'off in a distance a lonely bell was ringing'. Anyhow, from playing that song over and over, in my mind it kind of flipped over. And in the end, I considered it a Christmas song. And the red, red hand was just old Santa's glove. And the bells were Christmas bells. And the guy in that song, he's just calling it how it is, telling you what got messed up. Just like Santa. He knows if you've been naughty!"

This is the original studio version:

This is a shortened version of the song's video:

This is a live performance at the Australian Oscars a dozen years ago. Russell Crowe introduces Nick and the band:

The song was covered by multiple artists. This is a cover by the Arctic Monkeys (the current holder of the #1 position on the UK album charts):

This is a cover by Laura Marling:

This is a cover by Iggy Pop, Jarvis Cocker, and Barrie Cadogan:

... And this is a cover by PJ Harvey:

Which brings us to probably the most unlikely pairing of all, the point at which two entirely unrelated sets of fans said of their favorite artist: "They're working with who?" It was the pairing of the Prince of Gloom & Doom, Nick Cave, with the Queen of Sunshine Pop, Kylie Minogue, whose result is at #5 on our list.

Kylie laughs, hard. "I KNOW!" She had first heard of Nick Cave a few years earlier, when she was dating the late Michael Hutchence, the frontman of Inxs. "Michael said to me: 'My friend Nick wants to do a song with you,'" she recalls. "I didn't know who Nick Cave was. And I just said: 'Oh, that's nice,' like your nan would say: 'Oh that's nice, dear, do you want a cup of tea?'"

By 1996, though, the pair were sharing an Australian label. Cave was working on his album Murder Ballads (1996) and Kylie was asked if she would like to contribute. A CD of the track - featuring Blixa Bargeld singing her lines - was sent to her parents' house, where she was staying, and a game of phone tag ensued. Cave was also at his parents', so the prince of darkness and the queen of sunshine were busy leaving messages with each other's mums. "The first time I met Nick was at the recording studio in Melbourne," she says. "I speed-read a biography to understand him a little bit. And there was some interesting stuff in there. But everything I did with him was just so tender and epic and close. He's so amazing and loving, and it's one of my favorite things I've ever done."

You might have thought that the dalliance with Cave would have contributed to Kylie's decision to "go indie", recording with the Manic Street Preachers on 1997's Impossible Princess album, but she says not. "Nick didn't like my indie jaunt. He said: 'Why aren't you doing pop songs?' So, he's responsible for my realization that I wanted to get back to pop. He's definitely infiltrated my life in beautiful and profound ways."

Where the Wild Roses Grow was written by Cave but has a structure, feel and lyrics that could just as easily have been one of the traditional songs on that album. It's very effective and authentic sounding. In fact, Cave was inspired to write Where the Wild Roses Grow after listening to the traditional song, Down in the Willow Garden, a tale of a man courting a woman and killing her while they are out together.

It was also the band's most successful single worldwide: it was certified gold in Germany (>350 000 units), even though it never made the top 10 (#12). It was also certified gold in Australia, where it peaked at #2. It peaked at #3 in Sweden, Norway, Iceland, and Belgium, at #4 in Austria, at #5 in Finland, at #6 in Ireland, at #9 in the Netherlands, Scotland, and Denmark, at #11 in the UK, Switzerland, and New Zealand, at #20 in Italy, and at #37 in France.

Cave described writing the song:

"Where The Wild Roses Grow was written very much with Kylie in mind. I'd wanted to write a song for Kylie for many years. I had a quiet obsession with her for about six years. I wrote several songs for her, none of which I felt was appropriate to give her. It was only when I wrote this song, which is a dialogue between a killer and his victim, that I thought finally I'd written the right song for Kylie to sing. I sent the song to her and she replied the next day."

This murder ballad, where the murderer is obsessed with roses and the victim is beautiful as a rose, is remarkable in the way that it presents the murderer's viewpoint alongside with the victim's - and how chilling is the contrast between them. Observe the final verse, that of the actual murder:

Victim:

"On the third day he took me to the river
He showed me the roses and we kissed
And the last thing I heard was a muttered word
As he knelt above me with a rock in his fist"

Murderer:

"On the last day I took her where the wild roses grow
And she lay on the bank, the wind light as a thief
And I kissed her goodbye, said, 'All beauty must die'
And I lent down and planted a rose between her teeth"

This is the original studio version:

This is a live performance at the Koko Club in London:

Finally, at #4, The Ship Song is the truly phenomenal song of The Good Son (1990). The entire song is basically a gigantic orgasmic chorus, with a few brief verses thrown in just to give you a reason to anticipate said chorus,  but it's a fantastic chorus with a vocal melody that gets broken up in just the right moments ("Come sail your ships... around me").

Virtually a southern soul lullaby, The Ship Song was the elegant counterpoint to The Good Son's livelier The Weeping Song - it even came with a video featuring kiddies playing xylophones in the snow. The song equals if not overtakes the Scott Walker ballads Cave so clearly is inspired by - a soaring, tearjerking declaration of intense love that's simply amazing.

It's a tricky blighter, the Bad Seeds' 1990 album The Good Son, and it kicked up a fair old stink among Cave followers upon its release. How could the snarling, sneering preacher of despair and dismay turn soft and sentimental? Why would he turn his back on blood-and-guts wails of noise for tender ballads and dark-hearted pop? In hindsight, though, it's a school of thought purely for the dimwits unable to realize there's a delicate beauty to the Bad Seeds that is just as powerful as the hellfire-and-brimstone melodrama. And as The Ship Song shows, softer doesn't necessarily mean slushier: it's almost too intense, a stark, swelling piano ballad that walks a tightrope between lump-in-the-throat romanticism and unsustainable devotion, and Cave sings every word as if he's been compelled by some higher force to use his last breath to explain how besotted he is. "Your face has fallen sad now / For you know the time is nigh / When I must remove your wings / And you, you must try to fly," he sings, and he knows that nothing that blazes this fiercely can last, that a love so obsessive and compulsive isn't built to survive. Cave has delivered dozens and dozens of blood-soaked scriptures and sleazy sermons on the mount, but few which have the honesty, bravery and skin-prickling power of this one.

The Ship Song is eye-stinging in its beauty... This is the original studio version:

This is a live performance at the Songwriters Circle, in 1999:

Before we move on, here's what Nick Cave himself has to say about the song:

"There was a record we had done called Kewpie Doll - I hadn't written the lyrics for it, but we had to record it, so I just sort of mumbled the lyrics and made words that basically sounded like a vocal. Which was fine because it sounded cool and all that sort of stuff. But I actually had to come and put them in a book or something like that… and they had to be written somewhere. So I just started writing stuff very quickly, and I wrote 'Come sail your ships around me…' I wasn't really thinking about it, and just sent it off. Later I saw the line and thought, 'Fuck, that's really nice…' It was like a little gift. And it is, in a high romantic way, a beautiful little line."

"At that time, I was really trying to write a bunch of classic love songs - because I loved those sorts of songs. I've always been impressed by people who can write songs that catch people's hearts - I don't know if I ever got anywhere near that. What did the Bad Seeds think? Well, generally you change in increments, don't you? They don't even know it's happening until suddenly they're going onstage and playing an hour and a half of ballads."

Now, let's continue with last week's statistics; I'm getting used to this hot-and-cold situation; this week, there was a 41.2% drop from last week's visits. The week's winner has been the United States, which again rose, widening the gap with France, which has once more suffered the most losses. The United Kingdom had a minor percentage drop, while the other major players kept their percentages more or less stable. In other words, same old, same old...

Here are this week's Top 10 countries:

1. the United States

2. Greece

3. the United Kingdom

4. Canada

5. Australia

6. the Netherlands

7. France

8. Spain

9. Italy

10. Germany

Here are the other countries that graced us with their presence since our last statistics (alphabetically): Albania, Argentina, Austria, Azerbaijan, the Bahamas, Barbados, Belgium, Bermuda, Bosnia and Herzegovina, Brazil, Cambodia, Cayman Islands, Chile, China, Colombia, Costa Rica, Croatia, Cyprus, Czechia, Denmark, Dominican Republic, Ecuador, Egypt, El Salvador, Estonia, Finland, French Polynesia, Ghana, Guatemala, Honduras, Hong Kong, Hungary, India, Indonesia, Iraq, Ireland, Israel, Jamaica, Japan, Kenya, Kuwait, Lebanon, Lesotho, Lithuania, Luxembourg, Malaysia, Malta, Mexico, Mongolia, Morocco, Myanmar (Burma), Nepal, New Caledonia, New Zealand, Norway, Peru, the Philippines, Poland, Portugal, Puerto Rico, Qatar, Romania, Russia, Saint Vincent & the Grenadines, Saudi Arabia, Serbia, Singapore, Slovakia, Slovenia, South Africa, South Korea, Sri Lanka, Sweden, Switzerland, Thailand, Turkey, Ukraine, the United Arab Emirates, Uruguay, Venezuela, Vietnam, and Zimbabwe. Happy to have you all!

And here's the all-time Top 10:

1. the United States = 27.6%

2. France = 23.7%

3. the United Kingdom = 13.1%

4. Greece = 6.6%

5. Russia = 2.7%

6. Germany = 1.7%

7. Canada = 1.5%

8. Italy = 1.2%

9. Turkey = 1.0%

10. Cyprus = 0.88%

That's all for today, folks. Till the next one!

Gay Icons - The Divas: Diana Ross (part 1: the Supremes)

Hello again! After our Eurovision parenthesis, we will continue with our Divas. Since there have been some confusion as to what constitutes a Gay Icon, particularly among the straight fans of this blog, let me clarify why today's subject, the divine Diana Ross, deserves to be a Gay Icon, by using a very respectable source, Billboard.com.

So, Billboard says:

"As a large portion of her fan base, the LGBTQ community has considered the legendary diva an OG gay icon for her dynamic personality and inspirational rise to the top. Billboard Pride celebrates The Boss' latest accolade with six reasons on why she's earned the title of gay icon."

"Her Glitz & Glamour Has Always Been Admirable

Her fellow Supreme, Mary Wilson, reflected on how the girl group had a massive gay following. The legendary singer told GayStarNews 'I think because we were so glamorous that it automatically was a great attraction for the gay community.' With straightened hair and shimmering gowns, the Supremes remained a style inspirations during their heyday and afterwards. After departing for solo superstardom, Ross would make the hair and outfits bigger and glitzier to match her diva attitude and stage presence. No wonder she has two stars on the Hollywood Walk of Fame."

"RuPaul’s MVP

The drag superstar has made it no secret that Diana Ross is his childhood idol. He's co-starred in the music video for her cover of Gloria Gaynor's I Will Survive, and referenced her in his music. The diva has also appeared on RuPaul’s self-titled Vh1 talk show in 1996."

"Her Thoughts On Gay Marriage Were Ahead of Its Time

'Love is love and maybe you don't need it to be legal,' The Boss, Ms. Ross told The Advocate in 1999. She continued: 'It seems like girls, guys, whatever, should be able to live together without a legal contract.' Although this was seen as a soft answer, it actually spoke volumes for its timing echoing a sentiment that people should be in love with their soulmates, no matter the gender, and no one or court of law should judge otherwise."

"Superstar on the Big Screen

We at Billboard Pride can't fail to recognize The Boss as an Academy Award nominated lead actress. Her role as Billie Holiday in 1972's Lady Sings The Blues earned her the nod. It's far from her only memorable role: she falls in love as supermodel Tracy in Mahogany and eases 'on down the road' alongside Michael Jackson in The Wiz."

"Inspired Dreamgirls

It's widely speculated that the Broadway production turned motion picture is based on the drama of the Supremes, Berry Gordy, and Motown. If this is the case, the lead character Deena is a subtle depiction of Diana Ross. In a metaphorical moment of passing the baton, another lead singer from a girl group who'd go on to be a mega-selling solo star would play Deena. It's safe to say, we all know who that is."

"I'm Coming Out Is The Ultimate Gay Anthem

July 12, 1979 will forever be known as the day disco died. That night, rockists filled Chicago's Comiskey Park to destroy and burn tons of records in a Disco Demolition. Soon the genre was deemed uncool, and artists found themselves avoiding it to please consumers. The following year, Diana Ross went against the trend, and released a disco heavy self-titled album which included Upside Down and her boldest career single, I'm Coming Out."

"After attending a drag performance featuring various Diana Rosses, songwriter Nile Rodgers wanted to embrace the fall of disco with a flamboyantly, rebellious anthem. He noted that the jam was also influenced by the Disco Demolition Night, where he realized no black or LGBT people were in attendance, basically categorizing the infamous event as racist and homophobic towards the true fans of the genre. The song reached #5 on the Billboard Hot 100, and would later on become a stepping stone for those truly needing to come out. In 2016, I'm Coming Out topped Billboard Pride's list of gay anthems."

Diana Ross was born on March 26, 1944, in Detroit, Michigan. She was the second of six children of Fred and Ernestine Ross, who lived in Brewster-Douglass, one of Detroit's low income housing districts. Because of her tight-knit family Ross grew up virtually unaware of the harsh life that surrounded her. While her family was active in the Baptist church choir, Diana learned secular music from a cousin. She played baseball and took tap dance and majorette lessons at Brewster Center.

At age fourteen Ross tried out for a part in a school musical, but was turned down. The brief failure turned into good fortune, as she was invited to sing with the Primettes, a girls' vocal group that included Florence Ballard and Mary Wilson among its members. She sang with the Primettes throughout her high school years at Cass Technical High School, where she took sewing and fashion design courses. The male counterparts of the Primettes were called the Primes, and their members included Paul Williams and Eddie Kendricks, who would later form part of the Motown superstar group the Temptations.

Yet another Motown superstar, Smokey Robinson, introduced Ross and the Primettes at Motown Studios, where they visited frequently until they met Motown producer Berry Gordy. Gordy instructed Ross and her friends to finish high school and come back. Meanwhile, they recorded a single for Lupine Records in 1960. The A-Side was Tears Of Sorrow:

Ross, Ballard, and Wilson soon returned to sign a contract with Motown, and Ballard selected a name for the group - the "Supremes" - a name that Ross disliked. I Want A Guy was their first single as the Supremes, in 1961:

They followed it up with Buttered Popcorn, on which Florence Ballard sang lead:

Your Heart Belongs to Me (1962) was their first single to crack the American Hot 100. It was written by Smokey Robinson:

Ballard shines again on their next Hot 100 hit, Let Me Go the Right Way, delivering a tough vocal on top of Ross and Wilson's enthusiastic vocals. It was their first single to make the US R&B chart, peaking at #26:

A Breathtaking Guy (1963), another song penned by Smokey Robinson, peaked at #75 on the Hot 100, an imporvement of their chart fortunes:

It was their next single, When the Lovelight Starts Shining Through His Eyes, that was their first sizable hit. It peaked at #23 on the Hot 100, at #2 on the R&B, and it was their biggest hit in Australia (#11) until You Can't Hurry Love in 1966. The song was written by the songwriting partnership of Brian Holland, Lamont Dozier, and Eddie Holland. Their collaboration with the Supremes lasted until 1967 - and was one of the most fruitful collaborations in pop music history:

At the end of the year, Gordy assigned Ross as the group's lead singer, even though Ballard was usually the lead vocalist. On the throes of the success of When the Lovelight Starts Shining Through His Eyes, Motown rush-released a second Holland-Dozier-Holland single titled Run, Run, Run. Although it made # 26 on the US R&B chart, it was a flop on the Hot 100 (#93). It would seem that 1964 didn't start well for the group...

... which was by no means a bad sign, becuase, right after that, the group exploded into superstardom: Their next five singles all made #1 on the Hot 100, #1 or #2 on the US R&B chart, as well as making the top 40 in the UK (3 in top 10, one #1) and also being top 100 hits in Australia. All were written by Holland-Dozier-Holland. Their success between 1964-68 in the US was only surpassed by the Beatles. The song that started it all was Where Did Our Love Go:

The song was covered by Soft Cell, as the B-side of their huge hit single Tainted Love. It was a choice they would come to regret in a big way - and not for artistic reasons ( the cover version was very good). You see, Tainted Love was also a cover. Had they used one of their own compositions as the B-side, the songwriting royalties (which were substantial), would be divided 50%-50%). Otherwise, they would get nothing, as it happened. They were young and didn't know any better...

Where Did Our Love Go was the Supremes second most successful single, selling over 2 million copies. It is ranked #475 on Rolling Stone's 500 Greatest Songs of All Time and was selected for preservation in the National Recording Registry in 2016 due to its "cultural, historic, or artistic significance. Billboard named the song #4 on their list of 100 Greatest Girl Group Songs of All Time. Their follow-up surpassed that. Baby Love was an even bigger seller, becoming the group's biggest hit ever. It was nominated for the 1965 Grammy Award for Best Rhythm & Blues Recording, losing to Nancy Wilson's How Glad I Am. It is considered one of the most popular songs of the late 20th century, and was ranked #324 on the Rolling Stone list of The 500 Greatest Songs of All Time. It was also their only #1 in the UK:

Since I've mentioned Nancy Wilson's How Glad I Am, which I love, I really must play it, mustn't I?

Come See About Me was the Supremes' third #1 in a row:

Stop! In the Name of Love, another classic, was their 4th #1, as well as their 4th biggest hit overall:

Back in My Arms Again was their 5th #1:

The string was broken by the single Nothing but Heartaches. It peaked at #11 on the Hot 100:

Their next single, I Hear a Symphony, returned them to the top of the charts:

My World Is Empty Without You was a #5 hit:

Love Is Like an Itching in My Heart was a #9 hit:

The Supremes returned to releasing alltime classics that would make it all the way to the top with You Can't Hurry Love. It would be their third most successful single overall:

Phil Collins covered the song in 1982. It was a top 10 US hit and a #1 hit in the UK:

Another alltime classic #1 hit would follow, You Keep Me Hangin' On (1966) (#339 on the Rolling Stone list of The 500 Greatest Songs of All Time):

... Which would receive an interesting psychedelic remake by Vanilla Fudge in 1967, which made #6 in the US:

Another cover version, this time by Kim Wilde, in 1986, was a huge hit worldwide. (#1 in the US, Canada, Australia, and Norway, #2 in the UK, Ireland, and Switzerland, #3 in Denmark, and #8 in Germany):

Back to the Supremes - and another #1 hit, Love Is Here and Now You're Gone (1967):

The Happening was another #1 hit for the Supremes in 1967. It was a brilliant pop single (their 5th most successful single overall), for which HDH collaborated with Frank DeVol, a veteran of songs for films. You see, The Happening was the theme of the film of the same name, starring Anthony Quinn, together with a number of young and attractive people: Faye Dunaway, Michael Parks, Robert Walker, and George Maharis:

This is the movie's trailer:

Holland-Dozier-Holland left Motown in 1967, and the Supremes entered their next phase. Following significant issues with her comportment, weight, and alcoholism, Florence Ballard was fired from the Supremes by Gordy in July 1967, who hired Cindy Birdsong from Patti LaBelle and the Blue-Bells as Ballard's replacement. Gordy renamed the group Diana Ross & the Supremes, making it easier to charge a larger performance fee for a solo star and a backing group, as it did for other renamed Motown groups. Gordy initially considered Ross leaving the Supremes for a solo career in 1966 but changed his mind because the group's success was still too significant for Ross to pursue solo obligations. Ross remained with the Supremes until early 1970.

Ballard departure from the Supremes inspired the heartbreaking showstopper of the musical Dreamgirls. Jennifer Hudson's delivery in the film version of the musical earned her a well-deserved Supporting Actress Oscar:

Jennifer Holliday's original hit Broadway version was just as impressive:

The first single billed as Diana Ross & the Supremes was the #2 hit, Reflections:

In and Out of Love peaked at #9 in the US:

In four years the Supremes had 15 hits - and the lowest charting one peaked at #11. So, it was a minor shock when Forever Came Today only managed to reach #28:

A disco version of the song was released as a single by the Jackson 5 seven years later:

Some Things You Never Get Used To stalled for three weeks at #30 on the US Billboard pop chart in July 1968:

Love Child, a song with a social consciousness, about children out of wedlock, became the Supremes' 11th (and penultimate) number-one single in the United States:

I'm Gonna Make You Love Me, a collaboration between Motown's most famous groups, the Supremes and the Temptations, spent two weeks at #2 in the US and peaked at #3 in the UK:

I'm Livin' in Shame (1969), thematically similar to Love Child, peaked at #10, US:

Diana Ross was already on the way out of the Supremes, on her way to a glorious solo career. The insiders knew it - and the public was starting to get wind of it... Which resulted in a series of mid-table hits. Not even the return of the Temptations could lift I'll Try Something New higher than #25, US:

Then Smokey Robinson returned - he wrote and produced The Composer, but the single couldn't peak any higher than #27:

No Matter What Sign You Are tried to capitalize on the success of Aquarius - it made it us high as #31:

They even tried covering The Band's all-time classic The Weight, which was very much in fashion since its inclusion on the Easy Rider soundtrack. The Temptations were once again recruited, but this version left a lot to be desired. Not only it was much inferior that the original, it also couldn't hold a candle to Aretha's version. Rightfully, it was their biggest flop since Where Did Our Love Go began their chart dominance, only reaching #46:

It would be unfair to Diana Ross & the Supremes not to go out with a bang - and fortunately, this was not the case. Someday We'll Be Together granted faith and some hope to those who wished that the Supremes would return in the near future. The Johnny Bristol, Jackey Beavers, and Harvey Fuqua composition was the group's 12th #1 in the US - at the time only Elvis and the Beatles had more. The song also holds the distinction of being the final American number-one hit of the 1960s. Here it is:

Ross made her final appearance with the Supremes at the Frontier Hotel in Las Vegas, Nevada on January 14, 1970. At the final performance, the replacement for Diana Ross, Jean Terrell, was introduced. According to Mary Wilson, after this performance, Berry Gordy wanted to replace Terrell with Syreeta Wright. Wilson refused, leading to Gordy stating that he was washing his hands of the group thereafter.

The Terrell-led Supremes - now rebranded as the Supremes scored half a dozen biggish hits between 1970 and 1972 and on June 12, 1977, they performed their farewell concert at the Drury Lane Theater in London and disbanded. Here are their two biggest hits, both in 1970. This is Up the Ladder to the Roof:

... and this is Stoned Love:

As for Diana Ross' solo career, that will be the subject of our next story. Bye for now!