A Bayou Legend; Part 2

<v Speaker>A production of the Mississippi Center for Educational Television, A Bayou legend, reel <v Speaker>2. Length: 40 minutes, 1 second. <v Speaker>Total length. 88:38 . Record date 12/ 11/ 79. <v Speaker>William Grant Still was born in Woodville, Mississippi, in 1895. <v Speaker>His parents were both teachers, college graduates and musicians. <v Speaker>He entered Wilberforce University as a pre-med student and joined the university string <v Speaker>quartet. <v Speaker>The talk of music, however, proved too strong. <v Speaker>William Grant Still went to work for W.C. <v Speaker>Handy in Memphis, playing in his band on every instrument available. <v Speaker>The young composer made the first band arrangements of Handy's St. Louis Blues <v Speaker>and Beale Street Blues.

<v Speaker>Working for a time at a recording studio, he continued his studies with George <v Speaker>Chadwick, the Boston academician, and in New York with Edgar Varese, <v Speaker>the revolutionary modernist. <v Speaker>Mrs. Varese remembers her husband saying, "That young man has a special talent. <v Speaker>I must not spoil it." Still soon earned a living playing in the orchestra <v Speaker>pit for shuffle along the groundbreaking all Negro musical. <v Speaker>He arranged for Paul Whiteman, Sophie Tucker, Earl Carroll and <v Speaker>many more. <v Speaker>It was then that he began labor on his first large scale orchestral score. <v Speaker>He called it an Afro American symphony. <v Speaker>It was first performed by Howard Hanson in Rochester at an American <v Speaker>composer's concert in October 1931. <v Speaker>The event marks the acceptance of William Grant Still among the ranks of America's <v Speaker>leading composers, the Afro-American was soon programed by <v Speaker>many American and European orchestras.

<v Speaker>Married to Verna Arvey and father to a son and daughter, Still seems <v Speaker>securely launched on a major career. <v Speaker>He received a Guggenheim and Rosenwald fellowships. <v Speaker>But his music was cast in a warm, romantic vein and modern music <v Speaker>was dominated, especially in America, by Europeans like Stravinsky <v Speaker>and by European conductors. <v Speaker>Still was undaunted. <v Speaker>He said his artistic heart on yet another goal, the World of opera. <v Speaker>His first was A troubled Island to a libretto by poet Langston Hughes. <v Speaker>He finished it in 1938. <v Speaker>To a colleague, he wrote, As you know, it has been the dream of my life <v Speaker>to write operas. And although none of them have as yet been produced, <v Speaker>I haven't given up hope that they will be. <v Speaker>A troubled island was finally given by the New York City Opera in 1949

<v Speaker>with baritone Robert Weede in the lead. <v Speaker>It received three performances. <v Speaker>A Bayou Legend in 1941 was Still's third opera to a libretto <v Speaker>by his gifted wife, Verna Arvey Still, who was to collaborate with him on several <v Speaker>more. They remained unperformed for decades. <v Speaker>Opera South, the Adventurists Company in Jackson, Mississippi, gave the world premiere <v Speaker>in 1974, repeating the success in 1976 <v Speaker>as a bicentennial event. <v Speaker>William Grant Still received major stories in magazines and newspapers, <v Speaker>The New York Post called him the American Tchaikovsky. <v Speaker>He won the Golden Jubilee Prize of the Cincinnati Symphony. <v Speaker>In December 1978, laden with honors surrounded by his grandchildren, <v Speaker>William Grant Still died at the age of 83.

<v Speaker>He left behind seven operas, eight symphonies, four ballets, <v Speaker>numerous other choral, vocal and orchestral works and much chamber music. <v Speaker>And now part two of A Bayou Legend. <v Three Blades>Ladies and gentlemen, ?I read Duval and choose Rene? <v Three Blades>you dance for us today. <v Three Blades>Come step out smartly now, give us all a great big bow. <v Three Blades>Ladies and gentlemen! Woo! Louisa Costa and Claude Duran take each other by the hand.

<v Three Blades>You'll have to dance some more, now do all that's gone before. <v Three Blades>Ladies and gentlemen.

<v Three Blades>Adele Conelle and Jean Laclaire, let's see how you will pair. <v Three Blades>You'll end our little game and time for everlasting fame. <v Speaker>Clothtilde. <v Speaker>Clothtilde.

<v Speaker>Come to Clothtilde, what gives the surprise? ?inaudible? <v Clothtilde>Wait a while. <v Speaker>?inaudible? <v Clothtilde>You must be patient, the surprise has not yet come. <v Clothtilde>Leonce, it is late. Where is Bazile? <v Leonce>I have not seen him. He must have meant what he said. <v Clothtilde>Nonsense. <v Clothtilde>How could he prefer death to me? <v Leonce>Clothtilde, <v Leonce>you must be joking. <v Clothtilde>Wait a while, you'll see. <v Three Blades>Cast your worries aside, we'll cheer you with a ?dity? <v Three Blades>When folks are solemn we are gay, we love and sing till their hair turns grey. <v Three Blades>When folks are romancing and we're at prayers, we start dancing when they

<v Three Blades>say dance. <v Three Blades>So we'll be solemn, while they are ready, <v Three Blades>we might be people. But are very, very, very Contrary, <v Three Blades>contrary, contrary. We'll be gay and free and ?inaudible?. <v Three Blades>Contrary, contrary, contrary. But not very, not very! Hahaha. <v Clothtilde>Its no use, the party's near its end, see no sign of Bazile. <v Clothtilde>I warned him, you heard me. <v Clothtilde>But he heeded not. Now I will tell all I know. <v Leonce>But Clothtilde think well what you do to the man you love. <v Leonce>A childhood play mate you condemn too quickly.

<v Clothtilde>Have you forgotten duty? <v Clothtilde>Don't you recall what Father Lestant said? <v Leonce>My duty is to you and Bazile. <v Clothtilde>Your duty is to the villagers. <v Leonce>Judge carefully! <v Clothtilde>My judgement will off ?inaudible?. <v Leonce>Wait! <v Clothtilde>?inaudible? [?: yes] you must save Bazile! <v Speaker>Why should I? <v Clothtilde>To save him from the mob. <v mob>What mob? There is no mob. <v Clothtilde>There will be a mob when it's learned that Bazile consorts with spirits. <v mob>What? <v Leonce>Stop Clothtilde, you speak hastily. There's no proof. <v Clothtilde>But we heard the voice [Leonce: what voice?] The voice of a <v Clothtilde>spirit talking to Bazile. <v Clothtilde>But we saw no one, it must have been a woman who hid when we came. <v Clothtilde>Bazile admitted it. <v Speaker>Oh tell us, Bazile, she would never say these things if they were not true.

<v Leonce>Now I understand. <v Leonce>Under the mask of love Clothtilde <v Leonce>would send him to his death. <v Leonce>Clothtilde loves no one but herself. <v Speaker>She did not accuse, she <v Speaker>begged for Bazile's safety. <v Leonce>That was part of her plan, she's false, she's clever. <v Leonce>I do not wonder that you side with her. <v Leonce>I, too, have been fooled. <v Leonce>Duped by a clever woman scarred by a heartless rue.

<v Leonce>My life has been wasted <v Leonce>in delusions of her. <v Leonce>I too have been fooled. <v Leonce>She did accuse, her <v Leonce>accusations couched in such lies as to make her blameless in the lies. <v Leonce>But do not wonder that you side with her. <v Leonce>I, too, have been fooled. <v Leonce>Forced to a gallant gesture, persuaded <v Leonce>twas best for all, my efforts were to <v Leonce>help her.

<v Leonce>But now, I see how right she is. <v Leonce>I, too, have been fooled. <v Speaker>Stand aside Leonce, we'll attend to it. <v Speaker>Men, if that be true, Bazile must die. <v Speaker>We'll find Bazile and put the question straight. <v Speaker>No need, he's not far away. <v Speaker>?inaudible? our love needs no reminder like the waters come, our love endures. <v Clothtilde>Oh, there it is again. <v Speaker>What Clothtilde? <v Clothtilde>The song, the spirit.

<v Speaker>Is it true, Leonce? <v Leonce>I heard the song, but cannot swear who sang it. <v Speaker>Is it true Bazile? <v Leonce>Beware Bazile! These people do not wish you well. <v Speaker>Be silent. <v Speaker>Let Bazile speak. <v Bazile>Why should I let Clothtilde speak for me? <v Speaker>Is it true that you consort with evil spirits? <v Bazile>The spirit I consort with is not evil. <v Speaker>All spirits are evil <v Bazile>No! <v Bazile>More lovely than my <v Bazile>imagining, her form emerges from the cloudy shades of dreams. More lovely than my envisioning. Her features glow with a charm ray on as the morning. <v Bazile>From the heart forgotten mist of past ages,

<v Bazile>she came to me in this life. <v Bazile>Then her voice rang clear and with her words my thoughts returned <v Bazile>to lives with her long ago. <v Bazile>And loving you in years gone by. <v Bazile>And she told me the tale of our <v Bazile>devotion, my memory stirred, <v Bazile>my mind awoke. <v Bazile>To the pure and selfless passion of spirit, <v Bazile>I realized that through eternity our love lingers and always will remain. More constant than the mortars of the bayou, of faith, of remiss. <v Father Lestant>Bazile, is it true you've confessed to witchcraft?

<v Bazile>I've confessed to nothing, father. <v Father Lestant>You were so faithful, you strove to do God's bidding. <v Speaker>Am I a curse because I dare think for myself? <v Speaker>Not that you dare think, my son, but that you disagree with <v Speaker>the Lord. <v Bazile>That is not true! <v Speaker>Yesterday I spoke of disobeying God's law. <v Speaker>His law is love alone <v Speaker>I spoke to a placing our sons above him in word and deed. <v Speaker>But father! <v Speaker>I warned you, but you heard not. <v Speaker>I've done no harm. <v Speaker>Can you commune with one from the land beyond the veil? <v Bazile>Aurora <v Speaker>The punishment for that is death. <v Speaker>Yes, we must put Bazile in prison. <v Leonce>We must find a judge and a jury, that his trial <v Leonce>may be fair. <v Speaker>We need no judge, we need no jury. We need no prison. Why wait? We'll hang him now. <v Speaker>We have no gallows <v Speaker>Here's one.

<v Speaker>No, that one's better. <v Speaker> Our son are you prepared to meet your <v Speaker>creator? <v Speaker>I'm not afraid father. <v Speaker>I've done no <v Speaker>wrong. <v Clothtilde>Now they will be coming to the tree where he'll be hung. When our vows might have been given today. <v Clothtilde>Though some men fashioned a noose,

<v Clothtilde>while the others hold Bazile. <v Clothtilde>Long it will be thrown over a high branch and left to dangle around Bazile's neck. ?inaudible? will <v Clothtilde>draw it tight, ?inaudible? the body and strangle a gasp. <v Clothtilde>A face livid in death. <v Clothtilde>And the body gently swaying in the <v Clothtilde>breeze. Now all is calm, calm with the <v Clothtilde>calmness of a storm-swept sky.

<v Clothtilde>With the peace that falls on troubled waters. <v Clothtilde>Bazile, you are stubborn and unwitted. <v Clothtilde>Your eyes were blind to the joys of life. <v Clothtilde>Your lips defy the laws of sins. <v Clothtilde>But now you have learned not to scorn Clothtilde. <v Speaker>My children, God has sent a miracle, <v Speaker>let us kneel in silent prayer. <v Speaker>What is it? Why is this simple deed a miracle? <v Speaker>Too bad, Clothtilde. You have missed the drama for which you set the stage.

<v Speaker>Tell me what happened? Why are they praying? <v Speaker>From the quiet hanging body <v Speaker>emerged a luminous Bazile radiant with happiness, filled with newfound life. <v Speaker>Then as we watched there came to join him <v Speaker>another shining being. A woman whose radiance matched with his, as though it were always thus, together they ascended. <v Speaker>There became their forms till they were lost in

<v Speaker>the heavenly mist surrounding <v Speaker>them. <v Speaker>A miracle, we. <v Speaker>have seen a miracle. <v Speaker>Undid was I who gave them back to each other. <v Speaker>We owe our miracle to you. <v Speaker>Now I have nothing. Not the man. <v Speaker>Not his love. <v Speaker>Not one kind word to remember him by. <v Speaker>But you have his child. <v Speaker>What child? <v Speaker>What child? The child you bear, of course.

<v Speaker>There is no child. <v Speaker>I lied so that he would marry me. <v Speaker>But now, Leonce. <v Speaker>What do you want of me? <v Speaker>Bazile no longer stands in our way. Now we, Leonce, can be happy together. <v Speaker>Not I, Clothtilde. <v Speaker>Nor anyone else. <v Speaker>No man would have you <v Speaker>now. <v Clothtilde>[cries loudly]

<v Speaker>Ladies and gentlemen.

<v Speaker>By a small lake not far from the historic city of Vicksburg on water <v Speaker>that once was part of the Yazoo River amid oaks and cypress trees laden <v Speaker>with Spanish moss. The Mississippi Center for Educational Television and the <v Speaker>pioneering company Opera South joined forces to create A Bayou <v Speaker>Legend for television. <v Speaker>The story of Opera South is unique. <v Speaker>Founded in 1971 by combine of traditionally black Mississippi colleges, <v Speaker>Opera South today is sponsored by two of them. <v Speaker>Jackson State University, located in the capital city of Jackson, is one of these. <v Speaker>The other is Utica Junior College in Utica, Mississippi. <v Speaker>The purpose of Opera South is to give students an opportunity to work in professional <v Speaker>opera, to provide a showcase for gifted young American artists with professional credits <v Speaker>and to open opera to new audiences.

<v Speaker>Unlike opera companies that use a professional chorus for Opera South, the chorus <v Speaker>is the focus for student participation. <v Speaker>Students from both Jackson State and Utica formed the nucleus of the Opera South chorus. <v Speaker>In some productions, Opera South invites other area schools to participate <v Speaker>as chorus members. <v Speaker>Let's smile at each other. [inaudible] Let's smile! Be happy you're happy people. Smile, ready? Ok, 1. <v Speaker>[student singing] <v Speaker>Choral units are first trained by their own choral directors, working during and after <v Speaker>chorus classes. At the same time chorus to share the experience of working <v Speaker>with nationally distinguished directors and conductors. <v Speaker>Just such an example is Jonathan Morris, Opera South assistant conductor

<v Speaker>who takes over with the combined choruses during the final rehearsal weeks. <v Jonathan Morris>Can we do that now? Could this whole group here go over there? <v Speaker>Some chorus members, gladly travel as far as 60 miles to reach <v Speaker>their rehearsals because Opera South provides them with the opportunity to learn <v Speaker>firsthand about opera. <v Jonathan Morris>Hold on. As I come through, this space will open up to three feet <v Jonathan Morris>and you'll turn 90 degrees. <v Jonathan Morris>You've seen that happen a hundred times more. <v Speaker>During this period. Days begin early and end late. <v Speaker>Often students do not get home until well after midnight. <v Speaker>But singing in the chorus is only one phase of student participation. <v Speaker>Students at both institutions help in the overall development of all Opera South <v Speaker>productions. <v Speaker>Sets and costumes are designed by Opera South artistic director Donald Dorr,

<v Speaker>working closely with instructors of co-sponsoring institutions to allow for <v Speaker>student participation while ensuring that opera South's professional standards <v Speaker>are maintained. Then vocational tech students at Utica and <v Speaker>industrial arts students at Jackson State construct the sets and props. <v Speaker>Utica's Textual Department, which trains students to work in the garment industry, <v Speaker>prepares the cyclorama, curtains and stage backdrops. <v Speaker>Which are then painted by JSU students. <v Speaker>Utica's students also make the chorus costumes. <v Speaker>Over the years, students have made more than 500, which Opera South now <v Speaker>lends to other groups in the area. <v Speaker>Students participate in yet other ways.

<v Speaker>A national critic wrote that he had never seen such believable Egyptian Honor guards <v Speaker>in Aida as the Jackson State Football Tigers, who have also been cast <v Speaker>as Otello's mariners and his Roman Legionnaires. <v Speaker>The ROTC drill team liven up the changing of the guard in Karmen and the Jackson <v Speaker>State University Sonic Boom marching band added flair to the artillery in <v Speaker>the elixir of love. <v Speaker>Dancers at Jackson State and Utica get into their act when the opera calls for ballet. <v Speaker>Choreographed and trained by their instructors, they join the company for the last two <v Speaker>weeks of rehearsal when the director and conductor take over. <v Speaker>Other students help with publicity, ticket sales and the fund drive. <v Speaker>Theater arts students serve as supers for the productions. <v Speaker>This complex operation is handled by a board of directors composed of administrators <v Speaker>and faculty from both schools.

<v Speaker>Its general manager is Dolores Ardueno. <v Speaker>Opera South mounts 2 major operas each year in Jackson, plus a double bill of <v Speaker>short operas in the summer called the Mississippi Showboat, which plays at inner city <v Speaker>spots, shopping malls and tours, not only Mississippi, but other southern <v Speaker>states. Within four years, Opera South achieved the status <v Speaker>of a major company and won inclusion in who's who in opera. <v Speaker>Auditions are held year round in Jackson and once a year in New York. <v Speaker>Professionals who receive Opera South contracts have the chance to build repertoire, to <v Speaker>star in operatic roles and to receive reviews by major critics, giving <v Speaker>them additional exposure. <v Speaker>Opera South and noted producer standard repertoire as well as contemporary works. <v Speaker>He's committed to introducing new music by black composers to opera audiences, <v Speaker>A Bayou Legend then was a natural. <v Speaker>Its first performances by Opera South were staged in 1974 and

<v Speaker>1976 for the television production. <v Speaker>A new cast was assembled. <v Speaker>Top professionals were enlisted to join with the staff in carrying out the television <v Speaker>production. <v Speaker>[rehearsal] <v Speaker> Leonard DePaul, long a <v Speaker>devoted admirer of the music of William Grant Still is once again in charge <v Speaker>of the score as he was for the Opera South Stage productions. <v Speaker>While the singers rehearsed, the scene of the action was being prepared by Mississippi <v Speaker>ETV. <v Speaker>Singers and chorus were in for a surprise. <v Speaker>The production method devised for A Bayou Legend was unique.

<v Speaker>It began with conductor Leonard DePaul and a piano recorded on tape. <v Speaker>These recordings were the foundation for all the location shooting. <v Speaker>As Director John Thompson of Toronto explained. <v John Thompson>What we will do here today, you will hear the piano. <v John Thompson>You see the maestro on the monitors. <v John Thompson>The people that don't know the words, if they could just mouth along with it. <v John Thompson>That's quite satisfactory with me. <v John Thompson>OK. <v John Thompson>And the other point. <v John Thompson>It's a little difficult to accept this. <v John Thompson>But when you hear it at home [here is Leonard] Leonard is here? <v John Thompson>when you watch this at home, unless you are a musical person who knows tenors <v John Thompson>and baritones that you all should. <v John Thompson>If you are not singing, you should silently sing along. <v John Thompson>You follow what I'm saying? When the tenors are in alone, the faces are out, right? <v John Thompson>At some point. The basses should silently sing along. <v John Thompson>Shouldn't sing. Just mouth the words that the tenors are singing, the whole congregation <v John Thompson>is singing. You follow what I'm saying? You are at a church service.

<v John Thompson>You are at a church service. I cannot stress that enough. <v John Thompson>Ok? You're watching a preacher. <v John Thompson>Camera. Ready. <v John Thompson>Roll playback. Twenty seven Act 2. <v Speaker>Can I get-. <v Speaker>We're ready whenever you are. <v Speaker>[music plays] <v Speaker>The orchestra was not to be added in a separate recording session until weeks <v Speaker>later after the editing was completed. <v Speaker>All the singing performances in A Bayou Legend were recorded live <v Speaker>by microphones which captured the voices without picking up the prerecorded <v Speaker>piano playback. <v Speaker>Videotaping was completed on location in nine days and nights. <v Speaker>The good will and flexibility of every member of the cast and crew made possible

<v Speaker>an ambitious production under difficult circumstances. <v Speaker>To prepare old Clothtilde for one silent appearance. <v Speaker>Took five hours in the makeup chair. <v Speaker>For the special effect on Aurora's entrance, a platform was built at eight feet of water <v Speaker>stretching 40 feet out into Thompson Lake. <v Speaker>As production began, the singers were not sure they could deliver their best under open <v Speaker>air conditions. Many said later, however, that they were helped by the echo bouncing <v Speaker>back from the surface of the lake. Their efforts preserve the live quality which the <v Speaker>production required. <v Speaker>The cast, chorus, dancers and crew became a family <v Speaker>for two weeks. The result must be judged, as it always is <v Speaker>by the viewer at home. Events backstage can only be the preparation for the <v Speaker>curtain to rise, the show to begin the magic to happen.

<v Speaker>It is this which was always the dream for William Grant Still, one we hope <v Speaker>to have made real. <v Bazile>The law compels me to wed her.

<v Aurore>No law compels you Bazile. <v Aurore>We know love is stronger than laws. <v Bazile>Home is the waters of <v Bazile>the Bayou. <v Bazile>Oh come. <v Bazile>Pure as the hearts of you. <v Bazile>Ours is a true love. <v Aurore>Fetters of our bayou water, <v Aurore>from our source of ?inaudible? We live forever. Life without it is not worth living. <v Bazile and Aurore>Ours is a love that is more than

<v Bazile and Aurore>love. <v Bazile and Aurore>It has always been and always will be. <v Bazile and Aurore>Like the unseen ?inaudible? our love needs no reminder <v Bazile and Aurore>like the waters come our love endures. <v Aurore>Promise me Bazile <v Aurore>that you'll be patient until our time for <v Aurore>reunion arrives. <v Bazile>Now that I know you again, what shall I <v Bazile>do without you?

<v Bazile>Long years of loneliness, long hours of waiting. <v Aurore>Time seems long to you, yet your life on Earth is less than a moment in eternity. <v Aurore>Joy that is greater than any joy ?inaudible?. Dreams that will never fade, will reward us for waiting. <v Bazile>Thoughts of the joy to come will dwell in my heart. <v Bazile and Aurore>Our love will live forever. <v Bazile and Aurore>Life without it is

<v Bazile and Aurore>not worth living. <v Aurore>Now I must leave you. <v Bazile>Promise me that you will return. <v Aurore>Though you seem not know that I am with you, waiting by your side for our grand reunion. <v Bazile and Aurore>That today's feelings of loneliness be gone with a <v Bazile and Aurore>small knowing joy everlasting where we are and love. <v Clothtilde>I heard a woman's voice. Who was that woman Bazile?

<v Bazile>See for yourself. <v Clothtilde>There's no one here. Yet I'm sure I heard a woman's voice. <v Bazile>Perhaps you did, or it was your imagination. <v Clothtilde>empty word, this was not my imagination. <v Bazile>Tell me why are you so concerned? <v Bazile>Why do you force yourself on me? <v Clothtilde>Tell him Leonce how stubborn he is. <v Leonce>Most men would clamor for Clothtilde's love. <v Bazile>Do you seek her love? <v Leonce>Who would not see through? <v Bazile>Then why don't you and her? <v Leonce>She does not want me. <v Bazile>You must be a prince or a fool. <v Clothtilde>Don't evade the issue Bazile. Who was that woman? <v Bazile>You have no right to know. <v Clothtilde>She must have been the sweetheart who does not exist. <v Bazile>Part of it was.

<v Clothtilde>Then you do consort with spirits. <v Bazile>Call it by any name you will, Clothtilde. <v Clothtilde>Remember the words of our priest. <v Bazile>Though he abhor spirits the teaching he expouts come from spirits. <v Leonce>Blasphemy! <v Bazile>By laws of God or laws of men? <v Clothtilde>Oh you sneer at his words? <v Clothtilde>Remember what the man said? <v Leonce>Death for those who consort with spirits. <v Clothtilde>Let's stop this useless discussion. Bazile will marry me. We'll forget what happened here. <v Bazile>We won't forget. And I <v Bazile>won't marry you. <v Clothtilde>Then I'll tell the priest that you deal with evil spirits unless you marry me. You'll die! <v Bazile>And that should show your love for me? <v Clothtilde>If I cannot have you, then no one else will. <v Bazile>Is this a vengence or your promise? <v Clothtilde>I'll denounce you before everyone <v Bazile>You can expect me to be pleased? <v Clothtilde>The threat of death will bring you to my turf.

<v Leonce>She speaks this out of love for you. <v Clothtilde>Tomorrow I'll give a party to which all will come. And you will come too. <v Bazile>Why should I? <v Clothtilde>Under <v Clothtilde>my tree of hope, we'll be married. <v Bazile>I'll come to join in the fun, but not to marry you. <v Leonce>Don't be hasty. <v Clothtilde>You'll have to meet my <v Clothtilde>terms. <v Bazile>?inaudible? <v Leonce>?inaudible? scorn what is offered <v Bazile>Did I ask her for her hand? <v Clothtilde>My mind is made up. <v all>?inaudible?