Greetings Tori Berone
Improper
A1 N B&S
A2 LL F&B
Ladies Allemande R 1.5
B1 P B&S
B2 LL F&B
CL 3/4, pass thru to new Ns
Collected from Nills F at a dance at the Vintage Theater, Winston Salem, NC
It's a great first dance because the long lines allows the "group
consciousness" to remind people when it's time to stop
swinging. Makes it easier to start backing out on the calls sooner.
At 07:50 PM 5/4/2008, you wrote:
>Dear Jack,
>
>Thank you for posting your program. It is always interesting to see
>what dances callers are calling.
>
>I was curious about the dance "Greetings" by Tori Barone. Can you
>send me a copy of it? I can't seem to find it.
>
>Thanks in advance.
>
>Regards,
>Greg McKenzie
>
>**********
>
>> First half:
>> The first part of the evening was mostly glossary dances, adding in a
>> Hey by the 3rd dance of the evening.
>> * Greetings, by Tori Berone -- a nice simple dance, with Long Lines
>> after both of the swings, which helps remind the dancers to stop
>> swinging and move on without my having to call for the whole time
>> * Summer Sunshine, by Paul Balliet - starts and ends in the same
>> short wavy lines, introduces Ladies Chain
>> * Flirting Attempt, by Marian Hepburn - first Hey of the evening,
>> otherwise, a pretty simple dance
>> * Salmanella Evening by Steve Zakon Anderson - brings in Petranella
>> Spins, pretty heavy on allemandes - another great set of tunes - a
>> set of rip roaring french canadian tunes with both foot percussion
>> and drum
>> * After the Flu, by Dean Snipes - a down the hall dance which ends
>> with a ladies chain into a circle right into (the top of the dance
>> which is a) circle left with new neighbors. We did it to a nice
>> set of smooth jigs and once people got the hang of the transition,
>> it went well. I really love that transition -- circle right into
>> circle left with new folks.
>>
>>
>> Inpatient readers, please start here!!
>>
>> I ended the first half with Happy as a Warm Pig in Cold Mud. I've been
>> playing with how I want to teach this one, and I'm still not happy with
>> what I've got, though Eileen gave me some good ideas for things to try
>> next time (probably when I call at Glen Echo next week)
>>
>> So, the dance is:
>>
>> Happy as a Warm Pig in Cold Mud (or in the winter Happy as a Cold Pig
>> in Warm Mud -- I'm actually not sure which is the original title....)
>> Mike Boershig Improper
>> A1 N B&S
>> A2 Men Allemande L 1.5
>> P Allemande R 1.5
>> B1 Leave your partner, Left Hand Star 1x (theoretically with
>> neighbor, shadow and shadow's neighbor)
>> Back to your partner, Swing
>> B2 Circle Left 3/4
>> Balance the Ring
>> California Twirl
>>
>> So, as you would guess, the B1 is the tricky bit. One of the fun
>> things about this dance is that it doesn't matter which way you go for
>> the star -- it helps if you and your partner go in different
>> directions, but even that doesn't really matter -- as long as you go
>> somewhere, turn a star and then swing your partner. Because of that,
>> it's a very resilient dance. That being said, what I discovered
>> tonight was that it can still be confusing for folks even when it
>> doesn't fall apart -- that's more or less what happened tonight. The
>> dance kept going, and I was able to stop calling, but new dancers ended
>> up confused (and keeping calling didn't change much). It was a matter
>> of getting oriented in the first place. We also had a lower proportion
>> of experienced dancers to beginners than usual.
>>
>> What I did during the walk through was have them allemande R 1.5 with
>> partner, and then get the men back to back in the center. Reach out
>> with your left hand and star left with your neighbor and the two people
>> pointing back at you. I also pointed out that in the dance it didn't
>> matter how many times you allemande with your partner or which
>> direction you went to form the star -- as long as you go and keep
>> moving. People still had a lot of trouble figuring out where to go
>> once the dance got going, and in a lot of cases the new folks just got
>> the "deer in the headlights" syndrome and stopped completely.
>>
>> A few options:
>>
>> 1) Point out that (theoretically) you will have a shadow in your star
>> -- if you're doing a wrist grip star, the gent's shadow will be the
>> lady whose wrist he grabs to form the star. Problem: If some folks go
>> the other way, this could be more confusing. Option: Just don't
>> mention that you can go either way -- have it be allemande 1.5, star
>> left with shadow, come back swing.
>>
>> 2) Men back to back in the middle (after the allemande). Look away
>> from your hands 4 for someone of the same gender and form a hands
>> across star. Turn the star 1 time. Swing your partner. Problem:
>> Again, could be confusing if someone ended up with he he he she stars
>> or she she she he stars.
>> 3) Other ideas??
>>
>> How's the best way to point out the position without having to tie it
>> either to a particular person or gender? I suspect that with the group
>> I had, I should probably have just "done it straight" without pointing
>> out the opportunity to mess around. In that case, which way above
>> would seem to be clearer? With a larger proportion of experienced
>> dancers, though, any thoughts on the best way to teach it?
>>
>> Ok. Impatient readers are done. If you want to read about the second
>> half and pick up another new dance, keep going!
>>
>> Second half, I did
>>
>> * Square Affair, by Becky Hill, a great dance with a square thru,
>> * Any Jig Will Do, by Mike Richardson (done to Slip Jigs -- I love to
>> call this one when I have a band that can do slip Jigs, and the
>> band had put a set together specifically for me. They ended up at
>> a higher tempo than I've done it at before. It was almost too
>> fast, but the dancers were able to keep up confortably. For some
>> reason, once of the new dancers who had been confused and
>> disoriented for many of the dances was able to get this one with no
>> problems -- and it's a dance that depends on the men to get the hey
>> going.
>> * a simple 4 face 4 (Dance All Night, by Rick Mohr)
>> * Lundee's Laughter, a new dance by Adina Gordon
>>
>> On this one, I forgot that I hadn't done the dance I had
>> planned to do earlier in the evening to introduce the Roll
>> Away (which came right after a ladies chain, making it
>> more complicated.) I had planned to start out with Rollin
>> and Tumblin by Cis Hinkle, but then (for some reason)
>> changed to another dance instead and forgot that I needed
>> the roll away for this dance. Also, this is the first
>> time I've called it at a regular dance -- we tested it out
>> two weeks ago when the naming rights were auctioned off at
>> a benefit dance -- but we only danced it a few times then)
>> The dance is:
>> Lundee's Laughter
>> Adina Gordon Becket!!
>> A1 2 ladies down the hall
>> Turn alone, come back
>> (while the ladies are traveling, men face
>> down)
>> A2 Partner Gypsy (by inside shoulder -- the one
>> that's closest), ladies cross
>> Neighbor Swing
>> B1 Long Lines
>> Left Diagonal Ladies Chain (to shadow), and
>> Roll Away
>> B2 Partner Swing
>> Definitely needed to have done a roll away earlier in the
>> evening like I had originally planned, because this is a
>> special case for a rollaway and getting to it from the
>> ladies chain can be tricky to figure out what to do with
>> which hand even when you know how to do a roll away. It
>> does flow very nicely into the swing though. The one
>> problem that we had when we tested it 2 weeks ago was the
>> progression -- you have to make sure that when you come
>> back around to the top that it's two NEW ladies to go down
>> the hall. After the swing, the dancers are likely to need
>> to shift just a bit to the right to be across from new
>> neighbors. It's a good dance, and I think with a more
>> experienced group, would have been fine. As it was, it
>> never fell apart, it was just a little rough around the
>> edges, and a number of folks never got the roll away.
>> This dance isn't a good one to start with for a roll away
>> because a) it's from an unusual position and b) it's
>> always with the same person -- your shadow. If neither of
>> you know how to do a roll away, you'd just sunk.
>> Fortunately, all you have to do is trade places and there
>> your partner is, and you've got a nice long swing with
>> them before you have to do anything else.
>>
>> Ended the evening with Hey in the Barn by Chart Guthrie -- one of
>> my favorite
>> everyone's-brain-dead-and-we-just-want-to-dance-and-not-think
>> dances. (for those who don't know it: N B&S, L Chain, 1/2 Hey, P
>> B&S, LC, 1/2 Hey, on to the next.....
>>
>> If I had it to program again I wouldn't have done Any Jig, Dance
>> all Night and Lundee's Laughter all together -- too many unusual
>> dances all in a row, and I think it taxed the dancers a bit. I
>> also wouldn't have done Lundee's laughter without having done a
>> roll away earlier in the evening so that they get lots of practice
>> with different folks. I think that two out of three would have
>> been ok, perhaps split up by a simpler dance. Ahh, the joys of
>> programming on the fly in combination with new dances (Dance all
>> Night was my first ever 4 face 4, and Lundee's Laughter was a new
>> dance too....)
>>
>> Fortunately, I had fabulous music to work with. This is my first
>> time working with them since Colin's been playing with Paul and
>> Marilyn. Colin just started working with them about 6 months ago,
>> and the percussion has really added a lot to their sound. I had
>> called with them a bunch of times as a duo and always enjoyed it.
>> The addition of a nice solid percussion just makes it that much
>> better. Almost all of the tunes that they played fit the dances
>> really well, and I think that everyone (dancers, band and caller)
>> had a good time.
>> If you made it this far, I hope that it was interesting (or at
>> least that you picked up a couple of new dances). If anyone would
>> like copies of other dances mentioned, just drop me an email and
>> I'll send them out.
>> Jack Mitchell
>> Durham, NC
>>_______________________________________________
>>Callers mailing list
>>Callers(a)sharedweight.net
>>http://www.sharedweight.net/mailman/listinfo/callers
>
Congratulations, Jack, on spending so much time thinking about your program.
Such reflection will let you learn a lot.
You wrote, " Usually I just mull over a dance afterwards, sometimes talking it
out with another dancer. "
If there's another caller in your area at about your same level of skill and
experience, I'd recommend forming a caller buddy system with that person. Attend
each othr's dances, get together at the break and afterwards to talk about what
went well, what was problematic, what wording was effective and what was
confusing... this can be a very helpful way to boost each of your skills.
Pig/Mud dance: You asked "Other ideas??"
The option that first occurs to me is "Choose another dance."
Here you have a dance that inherently presents a challenge-- dancers must leave
their partners to form stars. The only fixed points in the star are you and your
shadow, along with two ever-changing other people, and the shadow relationship
has not already been established at this point in the dance.
If dancers do go in the wrong direction, even that shadow relationship will be
made even more tenuous. You might end up with 5-person and 3 person stars, and
while you as caller know that things will work out okay-- "as long as you go
somewhere, turn a star and then swing your partner"-- dancers
will certainly be discombobulated if they keep finding themselves in strange
groupings.
So, a harder than usual dance.
Secondly, you mentioned that you had "a lower proportion of experienced dancers
to beginners than usual."
Third, you presented it as the last dance before the break. Many of us like to
use that slot to call a fail-safe dance, so that dancers go into the break
having had a confidence-building joyful experience.
If I'm calling a harder-than-usual dance, I'll usually slot it as the
next-to-last dance in the first set, or, depending on the crowd, as the first
dance after the break.
In my video "Sweet Talk," focusing on veteran caller Ralph Sweet, there's a
segment in which Ralph dispenses advice for callers. He talks a little about
programming choices, and in particular discuses a situation in which the caller
comes into an evening with a particular dance firmly in mind"
---
"I really want to do this dance tonight" and that's not a good attitude.
"I've got to do this dance tonight", that's a baddy.
"Will the dancers enjoy doing this dance tonight?" Then I'll do it. That's what
you've got to think.
---
Just my 2 cents...
David Millstone
Hello,
I am a French contra dancer, trying to introduce contra in France. We have a
small group of 20 dancers who are able to dance most of the main figures. I
would like to introduce 'petronella' and 'balance the ring', I'm looking for
a contra with 4 'balance the ring' and 4 petronella, do you know a simple
one ?
Beatrice
How about Balance the ring and three petronella and then an extra
balance). This was actually from a message that Rich Goss sent to this
list sometime last year (I've got this dance on my own card, but they
aren't handy right now):
Here¹s Salmonella Evening
Salmonella Evening - Steve
Zakon-Anderson Improper
A1: Neighbor Allemande Right 1 1/2
Gents Allemande Left 1 1/2
A2: Partner Gypsy and Swing
B1: Ring Balance, Petronella Twirl
Ring Balance, Petronella Twirl
B2: Ring Balance, Petronella Twirl
Ring Balance, Pass Thru Along the Set
At 12:38 PM 5/3/2008, you wrote:
Hello,
I am a French contra dancer, trying to introduce contra in France.
We have a
small group of 20 dancers who are able to dance most of the main
figures. I
would like to introduce 'petronella' and 'balance the ring', I'm
looking for
a contra with 4 'balance the ring' and 4 petronella, do you know a
simple
one ?
Beatrice
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
[1]http://www.sharedweight.net/mailman/listinfo/callers
References
1. http://www.sharedweight.net/mailman/listinfo/callers
Hi everyone,
I joined SharedWeight a few weeks ago but have not had time to introduce
myself. My name is Will Loving - though some who met me many years ago may
remember me as Will McNaughten - and I live in Amherst, MA. I've been contra
dancing for about half my life - 26+ years I think - initially in Seattle,
NH/VT (Lyme, Etna, Norwich, Putney), and DC/MD/VA, but mostly in the Pioneer
Valley/Western Mass area for the last 20+ years.
I got interested in calling early on and started collecting dances and
teaching my students (small Quaker High School in Maryland) and anyone else
who was interested. Ken Haltenhoff (Bluemont dance), Steve Schnur, David
Kaynor and Larry Jennings book ³Zesty Contras² were early influences. After
I moved to Western Mass I called the Montague dance once or twice when David
was away but didn¹t do much beyond that. My wife, Kate, and I also taught
East Coast swing for five years here in the valley and my interest in
calling is very much related to my joy in teaching dance.
For the last 12+ years, parenting and running my business have taken
precedence over many personal interests including dancing and calling, but
I'm finally beginning to move in those directions again. Though my time is
still limited, I'm actively looking for opportunities to learn more about
calling and to talk with and observe people calling and teaching. I¹m
driving to Belfast, Maine this weekend to do the Intro Callers workshop with
Chrissy Fowler and will hopefully be going to the followup weekend with Lisa
in September.
I really appreciate Chris Weiler¹s recent post about his experiences as a
new caller, it¹s inspiring and gives me hope for how things can open up as
you go along. I know I bring certain skills to the table because of my
background in movement and teaching, but I¹m pretty clueless at the moment
about the music side of things and how to interact with the musicians. Lots
to learn and I very much appreciate the encouragement of the caller
community (esp. David Kaynor, Rick Mohr, Lisa Greenleaf, Linda Leslie,
George Marshall, et al.) as I figure out what next steps to take.
Finally, for my work, I do database programming in FileMaker Pro, mostly for
community arts organizations and other non-profits. I created a small dance
database some years ago for my own use, but now that I actually might start
using it actively I wanted something that was much more functional and nicer
to look at. I¹ve been working on something for several weeks that I think
might be of interest to the caller community, particularly because it has
the ability to create and preserve sets of dances for a particular date and
location.
At some point in the next few weeks I¹ll post a link to a downloadable beta
(both Mac and Win) for people to play with, but in the short term here (
http://dedicationtechnologies.com/CC/ ) are some screen shots to show you
where I¹m going with it. There is a lot of functionality already built in
which you can¹t really see but which will be apparent when you actually get
a chance to play with it. I also have lots of questions for you all because
I would like this to be versatile enough for contras, square and English, so
I¹ll be soliciting your input on that.
Thanks for listening and for the encouragement I¹ve already received from
many of you.
Thanks,
Will
--
William M. Loving
Dedication Technologies, Inc.
7 Coach Lane
Amherst, MA 01002-3304 USA
will(a)dedicationtechnologies.com
Tel: +1 413 253-7223 (GMT 5)
Fax: +1 206 202-0476
Don't Know Author/or Name of Dance - hoping someone
will recognize it. I know I will use it again and
would like to be able to give credi to the author.
thanks
Cirle Mixer
A1 Forward and back
Forward and back
A3 with your Corner Seesaw
with your Partner D-S-D 1 1/2
to get to next Partner - stand next to this new
Partner Right shoulder to Right shoulder
Men are facing CCW and Ladies are Facing CW
B1 Take Right hands with this Partner and
Balance R & L
Spin to the Right
Balance L & R
Spin to the Left
B2 with this new Partner Balance & Swing
end swing facing in - join hands in a circle -
dance starts again.
Used it a week ago for the first time - large group
of newcomers and lots of regular dancers.
All quickly got into the dance and it flowed well.
WOuld like to be able to give credit to whoever
wrote it next time I use it.
Mavis L McGaugh
510-814-8118 (answering machine-leave message)
____________________________________________________________________________________
Be a better friend, newshound, and
know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
Yes, this is a visiting big circle dance, as was done in the Southeast (I believe). There is an initial lead couple that starts the shoofly swing, which is the allemande turning figure that progresses from couple to couple. After the lead couple has passed about 3 or 4 couples, the next couple starts dancing the move and it travels around the circle. The man follows along the inside of the circle and turns his partner as she returns to him.
If I were to call this, I would start with a big circle, possible circle left and right, into the center and back, swing partner and promenade, grand right and left, and then when that's all done, get the lead couple started with the shoofly swing. At the end (when you have decided that it has gone on long enough), you can do a similar ending with the whole circle. I probably wouldn't do this at a "contra dance" but there are many one night stands, parties, and square dances where this would be totally appropriate and fun.
Suzanne
-----Original Message-----
>From: Jack Mitchell <jamitch3(a)mindspring.com>
>Sent: Apr 30, 2008 10:19 AM
>To: Suzanne Girardot <suzanneg(a)wolfenet.com>, Caller's discussion list <callers(a)sharedweight.net>
>Subject: Re: [Callers] Shoofly Swing
>
>Ok. Having a little trouble picturing this.
>
>a) Is the whole dance the shoefly swing?
>b) If the women are visiting, does her partner
>just follow her along the circle on the inside of the circle?
>
>Thanks,
>
>Jack
>
>
>At 01:02 PM 4/30/2008, you wrote:
>>Gretchen, I have seen this dance called by Phil
>>Jamison. In a big circle, this dance goes on
>>for a while, but many people can be dancing at
>>one time. Once the women have danced all the
>>way around, the women can turn the men and the
>>men can do the visiting. This would indeed be a
>>long dance, but back in the day, this would have
>>been extremely fun and not at all boring. What I
>>enjoy about this dance is the chance to turn
>>smoothly with your partner, and then turn the
>>next person in the circle with the left,
>>smoothly going around into the allemande with
>>your partner again. It can be really rhythmic
>>and did I mention smooth? You can get a nice
>>groove going with it. It would be a fun dance
>>for newer dancers, especially with a driving
>>old-time band. It sounds as though you have the
>>entire dance. Once you get the dancers going
>>("Turn your partner with a shoofly swing") there
>>is no more calling necessary until you want to
>>bring that part of the dance to a close and
>>perhaps finish with a big circle or grand right
>>and left. Suzanne Girardot Seattle, WA
>>-----Original Message----- >From: Gretchen
>>Caldwell <gretchendance(a)yahoo.com> >Sent: Apr
>>29, 2008 12:12 PM >To:
>>callers(a)sharedweight.net >Subject: [Callers]
>>Shoofly Swing > >I'm looking for a circle dance
>>called, I believe, "Shoofly Swing". Cubby
>>Whitehead used to end every evening with it in
>>Bradenton Florida in the late 1980s. It
>>involves one couple starting with an allemande
>>right, lady then allemandes next gent by left,
>>then partner by right, next gent by left, and so
>>on. After the allemanding partners have passed
>>you by, you and your partner join until the
>>whole circle is peeling off in one amazing mass
>>of allemandes. >Anyone have it? >I've just
>>joined the list, have been calling for two
>>years, and appreciate the support of the
>>community. I plan to try Microchasmic soon for
>>our weekly Monday night dance, where the level
>>of dancing is, surprise surprise, improving as
>>we three local callers try more challenging
>>dances. Not a lot of contracorners going
>>on. This triplet might be just the
>>thing. >Gretchen Caldwell >Charlotte
>>NC >_____________________________________________
>>__ >Callers mailing
>>list >Callers(a)sharedweight.net >http://www.shared
>>weight.net/mailman/listinfo/callers
>>_______________________________________________
>>Callers mailing list Callers(a)sharedweight.net
>>http://www.sharedweight.net/mailman/listinfo/callers
>
One other note about calling medleys, a point well made by Cary Ravitz at
http://ravitz.us/dance/call.php#9
The band's tune shift is an energy lift. Switching dances shifts the
attention to the caller and the steps and away from the band, thus negating
that lift. He suggests getting into the new figure and THEN switching tunes,
rather than switching tunes and dances at the same time.
I recommend following the link above if you're not familiar with his advice
on dance calling. Even if you don't agree, it's well reasoned and organized
information.
I'll also weigh in my agreement that medleys, like squares, are best when
well prepared and matched to the crowd. I've got several medleys on deck
awaiting the right crowd (and some may wait for years).
--jerome
--
Jerome Grisanti
660-528-0858
660-528-0714
http://www.jeromegrisanti.com
(I hope this didn't get posted twice)
I'll start out by saying that I am a big fan of unannounced medleys.
Especially at the end of the Dawn Dance or at other times when I'm tired and
don't want to think. I agree with Beth's points about "the non-thinking
groove" and the "spice of not knowing what is coming next". Also, there is
often a moment in "standard" contras after the caller has stopped calling
and my brain has turned off when all of a sudden my muscle memory gets
distracted and I have absolutely no idea where I am or what comes next.
That can be very jarring. In a medley that never happens. As an
experienced dancer, I often only need to pay peripheral attention to the
calls, and so can focus on the music and the people I'm dancing with even as
the caller is calling and the dance is changing. For me, it can be a much
richer experience. The thing that I like about squares is the variety. One
thing that I like about contras is being able to dance with the entire
longways set. Medleys combine the best of both worlds.
I never danced medleys as a novice dancer, so I can't speak to that from
personal experience, but I have seen beginning dancers absolutely thrilled
after doing an unannounced medley because they did something they didn't
think they could do. I might be in the minority, but I think that
unannounced medleys can be more beginner-friendly than planned medleys. You
don't get the NEFFA partner planning thing, and so beginning dancers are
more likely to be dancing with experienced dancers. Also, instead of being
scared away and feeling left out, beginning dancers are included and get a
sense of accomplishment at the end.
Anyway, I'm certainly not disputing that medleys need to be planned
carefully and done in situations where they will succeed. But I think that
(along with other out of the ordinary dances such as 4-face-4 and the like)
medleys can help make contra dancing more varied and exciting without making
it less inclusive and beginner-friendly.
Just my thoughts.
-Bronwyn
> On Thu, May 1, 2008 at 9:04 PM, Beth Parkes <ebay(a)hands4.com> wrote:
>
> > Ah, but there is another non-thinking groove zone that traditional
> > square
> > dancers understood and somehow modern contra dancers don't get: you
> > don't
> > have to think, just do what the darn caller tells you to do each time
> > around
> > and enjoy the variety and the spice of not knowing what is coming next.
> > I
> > find it better than the "do the same thing over and over and over and
> > over"
> > boredom of the (always soooo similar) modern contra scene. The fun is
> > the
> > three legged stool: the caller, the band, and the dancers. Modern contra
> > dancers only want the music. Their loss.
> >
> > IMVHO, of course.
> >
> > Beth
> >
> >
All-
Over the last few weeks I 've come across some questions related to calling and I though I'd combine a couple in one note rather than inflict two messages on everyone. Comments on either or both are appreciated.
1. I have run into the following mixer dance and I'm not sure how best to call it. I don't know the name and author or I'd ask him/her. The problem is that no beat counts or A1-A2-B1-B2 divisions were given.
The formation is a wavy circle with gents facing in, ladies facing out, partners by the right. The moves are:
Balance the wave R/L
Allemande R half way and reform the wavy circle
Balance the wave L/R
Allemande L half way and reform the wavy circle
Balance the wave R/L
Allemande R 1x
Allemande L 1 1/2 times
Partners balance and swing
Promenade around the circle
Partners drop R hands and reform the circle. Old partner is in left hand, new partner in right.
The problem is I can't make the timing look right. The first five moves look to all be four beat moves, but then there are 12 beats left for the allemande R 1x and allemande L 1 1/2. If not, moves are falling across the phrase.
Has anyone tried this dance or know anything about it? I'm thinking that drop the third balancing of the wave would work best, but that means a half allemande, full allemande, and 1 1/2 allemande consecutively.
2. I'm at the point where I want to try calling a dance medley. Any thoughts on good combinations to start with? What coordination do you do with the band ahead of time?
Thanks.
-Parker
