World Cafe; Rufus Wainwright 2003

Rufus Wainwright has taken a fast train to join us at the World Café today, and we're gonna, Rufus, I was thinking about how to describe what we're doing today. It's kind of like the pencil sketch of the giant painting in the huge Baroque frame. Just use chapel or something. Exactly, exactly. So as we're getting some solo versions of the songs from Want One, the new album. But please warmly welcome to the World Café, Rufus Wainwright. Thank you. APPLAUSE MUSIC PLAYS Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, All right, so your mother simply overdied to your world, yo But beware, my heart can

be a pillar shot, still with dragonfly Trying to get my mansions green, after I've begun ever since Then between tonight and my tomorrows, touch your wavy bell Then between tonight, I know it's Tazzo, Tazio, don't you find But again, yeah, it makes every tweet been dragon, a dragonfly Trying to get my mansions green, after I've begun ever since Honey, won't you hold me tight, get me through great God

ever since Then between tonight and my tomorrows, touch your wavy bell Trying to get my mansions green, after I've begun ever since Honey, won't you hold me tight, get me through great God ever since Then between tonight and my tomorrows, touch your wavy bell Great gardens going back away to open things up today as Rufus Wainwright has joined us

live on the cafe Good to see you and congratulations on this record. It's just it's just over the it is the chapel of recordings want to talk a little bit about how it relates maybe thematically first of all to poses and then maybe how it relates you know sonically yeah well I think that it I think once I finished sonically let's speak sonically first sonically when I finished poses there was perhaps a question of you know which direction am I going to go in am I going to you know either tone it down a lot and and you know make it a more acoustic sounding or am I going to go electronic direction or am I going to you know continue in opera land I think the latter is what happened I definitely you know pulled out all the stops and on that you know baroque organ of my mind did you consider an electronic kind of well I mean I the producer actually I worked with this kind of famous for electronic work

marries to freeze so that was there's definitely a possibility and certainly there's another album coming out in in a few months called want to which you know that that that I still that side may yet arise as well but but I don't know I think what happened is and this sort of more relates to the the you know thematic difference or change is that you know want poses was very much like the title us a record about me being an observer and kind of not really partaking in and you know the the life that I observed and thinking that I was you know very much detached and and and and apart from that and then you know I realized subsequently that I was actually involved you were wearing the flip yeah I was wearing the flip flops and then and I and then you know want really became

about you know getting real and about being very personal and what was actually going on in my mind sonically it's it's so elaborate 350 voices stacked on yeah uncertain tracks yeah is there a difference between 250 and 350 um well yes really one of them is bigger than the other but and yet with all the all the work that you did on this you turned it out unbelievably quickly yeah considering that why was that well I think there was a few factors I mean one was that I think okay one was that you know before making this album I I you know for those of you who've read the New York Times or the London Observer or maybe the Hong Kong Shalong I you know I I took a little time off before making the record just to settle some stuff and and I don't know that really opened a floodgates to something that

needed to be told and not and you know and told fresh you know not sort of milled over too much and but I think one of the main reasons was that you know going into this record was right I went into make this record right at the beginning of the Iraq war and you know I was going to peace demonstrations in the day and then going to you know the studio in the afternoon then going to group therapy at night and it was like it was just I don't know I was part of this machine something it's funny we talk about how grandiose it is and yet you're going to do one of the songs just as it is done in the record pretty things with yeah yeah why did you decide to leave this so simple uh well you know I think I think that uh I don't know I mean I don't want to totally massacre the audience but uh yeah this one is pretty things and this one's just very simple I think its so what if I like pretty things

pretty lies so what if I like pretty lies from where you to where I am now I am around the planet everything's a sign of my astrology and from where you to where I am now

it's me be a star and fall down somewhere next to me and make it past your color tv this time we'll pass and we'll live for me and all these pretty things this

don't say you don't notice pretty things from rufus wainwright live more of our session from indre studios coming up on the world cafe we're back to our session at indre studios with rufus wainwright you know it's funny you talk about 9 11 and when I first saw the title 11 11 on the uh but it's what is a time yes it's about the looking at the clock and it always being 9 11 which happens all the time and will will happen to all of you all the time now look out uh yeah actually it's interesting this song I the first half of it I wrote before 9 11 and the second half I wrote after so so

it's sort of a bridge to the bridge through the horror okay here we go um woke up this morning at 11 11 uh could have been either by the way I was I was

the kid hmm Love you at

11 You never tell me what else can I do What else can I do? I know I just woke up this morning And something was burning Realizing everything really does happen in my letter Thoughts were rough, countenance Afternoons lying to you You were alive all the hours

we were separate 11 is just precious time we've wasted So patch up your bleeding hearts And put away your fuzzies I'm gonna have a drink before wearing around the roses With you all the hours we were separate You never

You never You never 1111 New York City features Nat Song, 14th Street How long have you lived in the city? I've been in and around the city pretty much all my life in terms of I was born in Rhinebeck, New York And then I moved to Canada as a young child But my father always lived in New York And I would always come spend time with him there And then I went to boarding school in Milbrook, New York So we go to the city there And finally, but now I've really been there for about a year and a half I just bought an apartment Can you imagine living anywhere else? I couldn't, I really

couldn't I'd love to get the Chateau in France And the Beach House in Northern California Which will happen But definitely, I don't know I need architecture Among everything else You mentioned Want2 coming out next year Was there ever an idea to combine Why did you split the two? Well, there was Some hesitation by the record company itself to do that Because often times if you put out a double record Retailers, even though it doesn't cost as much It doesn't cost anymore really to do that The retailers will jack up the price anyways Because it's a double, whatever That little piece of aluminum doesn't cost much money Whatever, let's not get into all that stuff But I think in the end I was much happier with the concept Because it does, I mean I use a lot of production On my records, by

the way And, you know, I didn't want people to just, you know, totally Overwhelm Turn into zombies and leave their apartments It can still happen, it can still happen Want2 isn't it? Play them together And why Want is the title? From the song? Yeah, the song, I mean the song Want I wrote, actually I wrote it on my last night in rehab And it was very much crystallized My, that's not a good word to use My kind of, you know, desire to To just simplify my life and also Really, I don't know, I mean I love You know, show business like everybody else And fame and the heights of all of that stuff is exciting But it really is

quite hollow and useless In the end, I mean just in terms of a person As a human being, you know, so I mean I still want to play that fun game But it is, it is, but it's not what I really want Is that an assignment last night of rehab? Right song? It should be, it should be, it's a funny It's my sister, actually My smallest sister, Lexi Who's my father's daughter I think And who, when she was a small child She was about five or six She, she all, she thought that every human being Had a CD Because everyone in our family And actually, I think it's a really I think everybody should make a record One record in their life Well, it's come to that almost You should see my desk They're all sitting there So you want to do one? Yeah, let's do that one Or need to do one Music I don't want to

make it rain I just want to make it simple I don't want to see the light I just want to say the flashlight I don't want to know the answer Is there any of your questions? I don't want No, I really don't want to just

let it Let it flow I just want to be my dad Slight spray I love my mother Work at the family store Take orders from the counter I don't want to know the answer Is there any of your questions?

I don't want No, I really don't want to just let it go Take orders But I'll settle for love I'll settle for love Music Before I reach the

gates Realized I had packed my passport Before security Realized I had one more bag left I just want to know something Coming for the camera Tell me Will you make a mistake? Are you happy?

Will you settle for love? Will you settle for love? Music I don't

want to ask about John Lithgow I love John Lithgow I'm from the 80s What do you think you take from each of your parents? I take a lot I see the world in dark shades of

purple My father, I take a lot from his stage persona His ability to capture an audience And keep them prisoner for a while We told everybody to turn off their cell phones So it's probably you're going to do vibrate Which is a really nice love song Music My phone's on vibrate for you Electro -clashes carry all gates of I tried to dance Spread these beers I guess I'm getting on in

years My phone's on vibrate for you God knows what all these new drugs do I guess to have no more fears But still I always end up in tears My phone's on vibrate for you But still I never ever failed from you Conokios, now a boy Who wants to turn back into a dog

So come in Come in the morning, come in the night So come in Come in anytime you like My phone's on vibrate For you

Applause A little early in the day to hold that long note. Sorry. What was the vibrato on vibrate that I was liking? Did you take any voice lessons? I took voice lessons for about a month, once. I thought maybe I'd go into opera. But then that was about it. I read something about, you did some more kind of film with Martin Scorsese. What's that? It's called The Aviator and it's coming out in a year. It's quite an amazing story because it's the story of Howard Hughes, which is an amazing story. It's got Kate Blanchett and Leonardo DiCaprio. Basically there are some scenes that take place at the old coconut grove from the 20s. I was set to be the singer in the 20s, like a Bing Crosby type person.

Then they needed a singer for the 40s, sort of a war times female singer. So I suggested Martha. So they used her, my sister Martha. And then they needed a singer for the 30s and they used my dad, Loudon. So we're sort of flanking this movie. What do you sing? I sing I'll Build a Stairway to Paradise, which is a Gershwin song, old Gershwin song. So that was a lot of fun. It was actually, I turned 30 on the set. It was on my birthday that we were shooting. So it was a nice present. Well, I fell asleep in my trailer and they brought out a cake and I was in there. That's stupid. So you might do more of that, or is that kind of a one -off? Yeah, no. I'm actually presently shooting another film, I have a small part in another film, which I'm not going to talk about. Okay, we'll wait and see. We will have heard about it, but not heard about it first.

I'm really glad to see Dinner at Eight is on this list because it's a great song. It's a really pretty direct song for all the ones on here. But it's also one you've had sitting around for a while. Yeah, no. I wrote it years ago, actually after my first album was out. Certainly, my first experiences with the press were, especially in hindsight, quite really dramatic. I was really pounced upon by the press in a lot of ways. Not in a bad way, but I got a lot of press without ever having done a lot of press, which I guess happens. And I just assume that you just tell them the truth or entertain them, that it really didn't matter what I say and that they would be nice and write good things about you. Unfortunately, there was a lot of good press, but there was also this sort of thing that

happened where, I just talked about my dad, especially in sort of a disrespectful way in terms of my career and his career and all this stuff. And it just really hurt him as a person, and he wasn't happy with it. And so we got in this huge fight, and we didn't speak to each other for a long time. And I wrote this song. I didn't want to sing it for years because I thought it was too personal and so forth, but I've realized since that it's kind of a love song. And another thing too is that after going away and stuffed my little trip, my healthy trip, my health kick, I did a lot of work with psychiatrists and stuff or psychologists more like that. But there's a lot of stuff in that relationship between a father and son that has to be dealt with or

you can't progress, either one, either the father or the son. So I think we needed to come together and sort of bury the hatchet a little just to sort of progress. Did you warn him about the song? I warned him. I told him, you know, Dad, I just want you to know I wrote this song about you and it's on the record, and I hope it's not too hurt by it or anything. And he said, you know, Rufus, I've written so many songs about other people that I probably deserve it. Of course, he's got his issues with his father too. Yeah, yeah. And it was very much, you know, he really never got to deal with a lot of that and his father died quite young and it still haunts him to this day. So I didn't want to be in that same position. Well, it's a great song. This is a dinner at 8. Let's see. Dinner at

8. Was okay before the toast full of glims And was great until those old magazines Got us started up again Actually, it was probably me again Why is it so That I've always been the one who must go That I've always been the one told to flee When in fact you were the one Long

ago That swirled To drift in wild snow Left So put up your fists And I put up mine And I'm running away From the sea of the crime That showed that a place

Somewhere near the end of the world Somewhere near the end of our lives Until then, Lord, that I don't be surprised If I want to see the tears in your eyes Then I know it had to be Long ago That swirled To drift in wild snow Love Love No matter how strong

I'm gonna take you down with one little stone I'm gonna break you down I'm gonna see what you're worth And what you're really worth to me Thank you so much for playing live for us. Thank you. A real treat. These are mostly on Wand One, the new one. And you're getting the 100 -piece orchestra out to tour? Uh, 200 -piece. You need the voices, too. We're gonna have a lot of backup singers. Well, you'll see. Okay, good. Look forward to it.

Rufus Wainwright, live from Andre Studios. Thank you. Thank you. Thank you. Rufus Wainwright has taken a fast train to join us at the World Cafe today. I was thinking about how to describe what we're doing today. It's kind of like the pencil sketch of the giant painting in the huge Baroque frame. Sistine Chapel. Exactly, exactly. So we're getting some solo versions of the songs from Wand One, the new album. But please warmly welcome to the World Cafe Rufus Wainwright. Thank you.

I know it's Tazio. Tazio, don't you find? Honey, can you hear me? Every tweet been dragging a dragonfly Trying to get my mansions green After I break out in the sand Honey, won't you make time Get me through great goddess

tonight Tazio, Tazio Tazio, Tazio Trying to get my mansions green After I break out in the sand Honey, won't you make time Get me through great goddess tonight Tazio, Tazio Tazio, Tazio Tazio, Tazio Tazio Great

gardens going back away to open things up today. Rufus Wainwright has joined us live on the cafe. Good to see you and congratulations on this record. It's just over the, it is the Sistine Chapel of recordings. I want to talk a little bit about how it relates, maybe thematically, first of all, to poses and maybe how it relates, you know, sonically. Well, I think that it, I think once I finish sonically, let's speak sonically first, sonically when I finish poses there was perhaps a question of, you know, which direction am I going to go in? Am I going to, you know, either tone it down a lot and, you know, make it a more acoustic sounding or am I going to go electronic direction or am I going to, you know, continue in opera land? I think the latter is what happened. I definitely, you know, pulled out all the stops on that, you know, Baroque organ

of my mind. Did you consider an electronic kind of production? Well, I mean, the producer actually I worked with is kind of famous for electronic work, Marys de Fries. So that was definitely a possibility and certainly there's another album coming out in a few months called Want 2, which, you know, that side may yet arise as well. But I don't know, I think what happened is, and this sort of more relates to the, you know, thematic difference or change is that, you know, poses was very much like the title, a record about me being an observer and kind of not really partaking in, you know, the life that I observed and thinking that I was, you know, very much detached and apart from that. And then, you know, I realized subsequently that I was actually involved. You were wearing the flip -flops. Yeah, I was wearing the flip -flops. And

then, you know, Want really became about, you know, getting real and about being very personal and what was actually going on in my mind. Sonically, it's so elaborate. 350 voices stacked on tracks? Yeah, on certain tracks, yeah. Is there a difference between 250 and 350? Well, yes. Really? One of them is bigger than the other. But, and yet, with all the work that you did on this, you turned it out unbelievably quickly considering that. Yeah. Why was that? Well, I think there was a few factors. I mean, one was that, I think, okay, one was that, you know, before making this album, I, you know, for those of you who've read The New York Times or The London Observer or maybe The Hong Kong Shalong, I, you know, I took a little time off

before making the record just to settle some stuff. And I don't know that really opened floodgates to something that needed to be told and not, you know, and told fresh, you know, not sort of milled over too much. But I think one of the main reasons was that, you know, going into this record was right. I went in to make this record right at the beginning of the Iraq war. And, you know, I was going to peace demonstrations in the day and then going to, you know, the studio in the afternoon and then going to group therapy at night. And it was like, it was just, I don't know, I was part of this machine. It's something. It's funny we talk about how grandiose it is and yet you're going to do one of the songs just as it is done and the record pretty things with you. Yeah, yeah. Why did you decide to leave this so simple? Well, you know, I think that, I don't know. I mean, I don't want to totally massacre the audience. But yeah, this one

is pretty things. And this one is just very simple. I think its simplicity is also very important too. So, what if I like pretty lies from where you are to where I am now. I lay these pretty things around the planets of my face. Everything's a sign of

my astrology. From where you are to where I am now. Is it some galaxy? Is it some galaxy? Is it some galaxy?

Pretty things from Rufus Wainwright. We're back to our session at Indray Studios with Rufus Wainwright. You know, it's funny you talk about 9 -11 and when I first saw the title, 11 -11. But it's a time. Yeah, it's about looking at the clock and it always being 9 -11. Which happens

all the time and will happen to all of you all the time now. Look out. Yeah, actually it's interesting this song. The first half of it I wrote before 9 -11. And the second half I wrote after. So, it's sort of a bridge through the whore. Okay, here we go. We woke up this morning at 11 -11 It wasn't important and I wasn't in heaven Could have been either By the way, I

was feeling I was alive I was alive Woke up this morning at 11 -11 I was alive John was half naked And Lulu was crying Over a baby That'll never go crazy But I was alive Love you at 11

-11 Tell me what else can I do What else can I do I woke up this morning and something was burning Realizing everything really does happen in my letter Thoughts were of counter -ness Afternoons lying here You were alive Never the hours we are separate

11 -11 is just precious time we've wasted So patch up your bleeding hearts And put away your poses I'm gonna have a drink before we're running around The road is with you The hours we are separate Oh, the hours we are separate 11 11

11 11 -11 New York City features Natsong, 14th Street, so many How long have you lived in the city? I've been in and around the city pretty much all my life In terms of I was born in Rhinebeck, New York And then I moved to Canada as a young child But my father always lived in New York And I would always come spend time with him there And then I went to boarding school in Milbrook, New York So we'd go to the city there And finally, but now I've really been there for about a year and a half I just bought an apartment Can you imagine living anywhere

else? I couldn't I'd love to get the Chateau in France And the beach house in Northern California Which will happen But definitely, I don't know, I need architecture Among everything else You mentioned Wontu coming out next year Was there ever an idea to combine? Why did you split the two? Well, there was some hesitation by the record company itself To do that, because often times if you put out a double record Retailers, even though it doesn't cost as much It doesn't cost any more really to do that The retailers will jack up the price anyways Because it's a double, whatever That little piece of aluminum doesn't cost anything Whatever, let's not get into all that stuff But I think in the end I was much happier with the concept Because I use a lot of production on my records, by the way And,

you know, I didn't want people to just, you know, totally Overwhelmed Turn into zombies and leave their apartments and Wontu and Wontu It still happened, it still happened Wontu and Wontu played them together And why Wontu is the title from this song? Yeah, the song, I mean the song Wont I wrote, actually I wrote it on my last night in rehab And it was very much crystallized My, that's not a good word to use My kind of, you know, desire to just simplify my life And also really, I don't know I mean, I love, you know, show business like everybody else And fame and the heights of all of that stuff is exciting But it really is quite hollow and useless in the end I mean, just in terms of a person as a human being, you know So, I mean, I

still want to play that fun game But it is, it is, but it's not what I really want Essentially, dinning Is that an assignment last night of rehab? A rite song? It should be, it should be My smallest sister, Lexi, who's my father's daughter I think And who, when she was a small child, she was about five or six She, she all, she thought that every human being had a CD Which everybody did And actually, I think it's a really, I think everybody should make a record One record in their life Well, it's come to that almost It's easy enough to do it You should see my desk They're all sitting there So you want to do one? Yeah, let's do that one Or need to do one I just want

to make it simple I don't want to see the light I just want to see the flashlight I just want to see the flashlight I just want to see the flashlight I just want to see the flashlight I just want to be

my dad The light spreads I love my mother I work at the family store Take orders from the counter I don't want to know the answer Any of your questions I just want to know

I've had no one Don't let go Change her tears But I'll settle for love Before I reach the

gates Realized I had packed my passport Before security Realized I had one more bag left I just want to know something Coming for you again, babe Tell me Will you make a mistake? What

happened? Will you settle for love? Will you make a mistake?

Will you make a mistake? Will you make a mistake? I'm from the 80s I want to be my dad with the sprinkling of my mom What do you think you take from each of your parents? I take a lot I have more of her sensibility I have my mother's eyes I see the world

in dark shades of purple I take a lot from his stage persona His ability to capture an audience And then keep them prisoner for a while We told everybody to turn off their cell phones So you're going to do vibrate Which is a really nice love song My phone's on vibrate for you Electro -clashes carry a gate of I tried to dance Spread these mirrors I guess I'm getting on in years My phone's on

vibrate for you God knows what all these new drugs do I guess to have no more fears But still I always end up in tears My phone's on vibrate for you God knows what all these new drugs do I guess to have no more fears Come in,

come in the morning Come in the night So come in, come in anytime You lie My phone's on vibrate for you A

little early in the day to hold that long note. Sorry. What was the vibrato on vibrate that I was liking? Did you take any voice lessons? I took voice lessons for about a month, once. I thought maybe I'd go into opera, but then that was about it. I read something about... Did some work in a film with Martin Scorsese? Yeah. What's that? It's called The Aviator And it's coming out, I guess, in a year. It's quite an amazing story because... It's the story of Howard Hughes, which is an amazing story. It's got Kate Blanchett and Leonardo DiCaprio. Basically, there's some scenes that take place at the old coconut grove from the 20s. I was set to be the singer in the 20s, like a Bing Crosby type person. And then they needed a singer for the 40s, sort of a war times female singer. So I suggested

Martha, so they used her, my sister Martha. And then they needed a singer for the 30s, and they used my dad, Loudon. So we're sort of flanking this movie. What do you sing? I sing I'll Build a Stairway to Paradise, which is a Gershwin song. So that was a lot of fun. It was very... Actually, I turned 30 on the set. It was on my birthday that we were shooting. So it was a nice present. Well, I fell asleep in my trailer, and they brought out a cake and I was in there. That's stupid. So you might do more of that, or is that kind of a one -off? Yeah, no. I'm actually presently shooting another film, I have a small part in another film, which I'm not going to talk about. Okay, we'll wait and see. We will have heard about it, but not heard about it first. I'm really glad to see Dinner at Eight is on this list, because it's a great song. It's

a really pretty direct song for all the ones on here. But it's also one you've had sitting around for a while. Yeah, no. Yeah, I wrote it years ago, actually after my first album was out. And we... Certainly, Mike's first experiences with the press were, especially in hindsight, quite really dramatic. I was really pounced upon by the press in a lot of ways. Not in a bad way, but I got a lot of press without ever having done a lot of press, which I guess happens. And I just assume that you just tell them the truth or entertain them, that it really didn't matter what I say, and that they would be nice and write good things about you. Unfortunately, I mean, there was a lot of good press, but there was also this sort of thing that happened where... I just talked about

my dad, especially in sort of a disrespectful way in terms of my career and his career and all this stuff. And I didn't really... And it just really hurt him as a person. And he wasn't happy with it, and so we got in this huge fight. And we didn't speak to each other for a long time. And I wrote this song. I didn't want to sing it for years because I thought it was too personal and so forth, but I've realized since that it's kind of a love song. And another thing, too, is that after going away and stuffed my little trip, my healthy trip, my health kick, I did a lot of work with psychiatrists and stuff, or psychologists more like that. But there's a lot of stuff in that relationship between a father and son that has to be dealt with or you can't progress, either one, either the father or the

son. So I think we needed to come together and sort of bury the hatchet a little just to sort of... Did you warn him about the song? I warned him. I told him, you know, Dad, I just want you to know I wrote this song about you and it's on the record, and I hope it's not too hurt by it or anything. And he said, you know, Rufus, I've written so many songs about other people that I probably deserve it. Of course, he's got his issues with his father too. Yeah, yeah. And it was very much, you know, he really never got to deal with a lot of that. And his father died quite young, and it's still hot some to this day. So I didn't want to be in that same position. Well, it's a great song. Thank you. This is a dinner at 8. See what

you're worth. What you're really worth to me. Dinner at 8. Was okay before the toast full of glares. And was great until those old magazines got us started up again. Actually, it was probably me. Yeah, yeah. Why is it so that I've always been the one who must go? That I've always been

the one told to flee? When in fact you were the one along the ground that swirled drifting wild snow left left so put up your fists and I'll put up mine running away from the sea of the

crime that's chosen a place somewhere near the end of the world somewhere near the end of our lives until then, no daddy don't be surprised if I want to see the tears in your eyes that I know it had to be long ago that swirled in the drifting wild snow

love love no matter how strong I'm gonna take you down with one little stone I'm gonna break you down and see what you're worth and what you're really worth to me Now now now now Thank you so much for playing live for us. Thank you. A real treat.

These are mostly on Wanda One, the new one, and you're getting the 100 -piece orchestra out to tour? 200 -piece. You need the voices, too. We're going to have a lot of backup singers. Well, you'll see. Okay. Good. Look forward to it. Rufus Wainwright, live from Andre Studios. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you.