Jacob Banks, a Nigerian-born singer based out of the U.K., released a brand new song Wednesday titled “Stranger.”
The song comes with a new music video depicting the emotions of growing apart from a loved one and putting the pieces back together once it’s over. Banks sings, “Stranger, once upon a time we were the chorus.” You can see the video by clicking right here.
Sillkey co-produced the song with Banks, and the two use R&B and progressive electronic synths to build to an eruption of strings and keys.
Banks also directed and starred in the music video himself. He places himself and the female co-lead close enough to touch, but something non-physical continues to prevent them from reaching each other.
Netflix released Homecoming: A Film by Beyoncé, which presents an intimate look at her historic 2018 Coachella performance that paid homage to America’s historically black colleges and universities (HBCUs). Interspersed with candid footage and interviews detailing the preparation and powerful intent behind her vision, Homecoming gives a peek into the process and emotional physical sacrifices it took to conceptualize and execute a performance of that magnitude that became a cultural movement. This stand-alone Netflix original is now available globally on Netflix.
As the first black woman to headline Coachella, Homecoming recognizes the African American visionaries who inspired Beyoncé, including HBCU alums Toni Morrison, Alice Walker, activist Marian Wright Edelman, and scholar W.E.B. Du Bois, in addition to cultural luminaries such as Nina Simone, Maya Angelou, Chimamanda Ngozi Adichie, and Audre Lorde. Beyoncé’s personal knowledge of the relevance and celebration of HBCUs started with her father, Mathew Knowles, an alumnus of Fisk University. Shot over eight months, the film follows the global entertainer as she returns to the stage after the birth of her twins, highlighting the comprehensive preparation involved in creating her groundbreaking performance, which included four months of band rehearsals followed by four months of dance rehearsals with over 150 musicians, dancers, and other creatives, — all of whom were hand-picked by the artist herself. In juggling dual roles as both the director of her live performance and the film that captured the process of making it, Beyoncé says, “It was one of the hardest jobs I have taken on but I knew that I had to push myself and my team to go beyond great to legendary. We knew nothing like this was ever done on a festival level before and it needed to be iconic beyond compare. The performance was an homage to an important part of African American culture. It had to be true to those who know and entertaining and enlightening to those who needed to learn. In making the film and re-telling the story, the purpose remained the same.” Many in the cast; band, singers, dancers and steppers are former HBCU students, immersed in the HBCU marching band tradition. They joined Beyoncé’s own group of performers, some who have toured with her for years. Viewers not only get to see the intense dance rehearsals and talent of these amazing artists, but hear their personal journey from HBCU student to artist and the lifelong impact that comes with performing alongside Beyoncé in this historic concert. “So many people who are culturally aware and intellectually sound are graduates from historically black colleges and universities, including my father,” she says in the film. “There is something incredibly important about the HBCU experience that must be celebrated and protected.” As a treat to her fans, the film also includes, in the end credits, her remake of “Before I Let Go” by Frankie Beverly and Maze, a 1981 R&B classic that’s commonly performed at HBCU games. The single will be available on the film’s soundtrack, Homecoming: The Live Album, available today from Parkwood Entertainment and Columbia Records. smarturl.it/BH9102 Homecoming: A Film by Beyoncé was directed and produced by Beyoncé Knowles-Carter. Longtime collaborator Ed Burke served as co-director. Steve Pamon and Erinn Williams are executive producers. Set List
“Crazy In Love”
“Lift Ev’ry Voice And Sing”
“Sorry”/”Me, Myself and I”
“I Been On”
“Drunk In Love”
“Don’t Hurt Yourself”
“Mi Gente (Remix)”
“You Don’t Love Me (No, No, No)”
“Check On It”
“Déjà Vu”(featuring JAY-Z)
“Run the World (Girls)”
“Lose My Breath” (featuring Kelly Rowland and Michelle Williams)
“Say My Name” (featuring Kelly Rowland and Michelle Williams)
“Soldier” (featuring Kelly Rowland and Michelle Williams)
“Get Me Bodied” (With Solange Knowles dancing)
“Single Ladies (Put a Ring on It)”
“Love On Top”
About Netflix Netflix is the world’s leading internet entertainment service with over 148 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments. About Parkwood Entertainment Parkwood Entertainment is an entertainment and management company founded by entertainer and entrepreneur, Beyoncé in 2010. With headquarters in New York City the company houses departments in music and video production, management, marketing, digital, creative, philanthropy, fashion, publicity and a record label. Under its original name, Parkwood Pictures, in 2008, the company released the film Cadillac Records (2008), in which Beyoncé starred and co-produced. The company also released the film, Obsessed (2009), with Beyoncé as star and executive producer. Parkwood Entertainment produced The Mrs. Carter Show World Tour (2013-2014) and The Formation World Tour (2016), and co-produced the ON THE RUN TOUR (2014) and ON THE RUN II (2018).
Every once in a while pop culture encounters a rip in its continuum. The latest breach comes from one of the most effervescent entertainers of all time, Beyoncé Giselle Knowles Carter, as the first Black female to headline one of the most prolific festivals since the iconic Woodstock. Introspective yet intimate, Homecoming is positioned to be one of the most immersive concert series in the history of music and streaming services. Beyoncé, the Director and Executive Producer of the film, creates a visually captivating story from the beginning to end. The documentary answers a plethora of questions, at which the infamous Beyhive has had about the historical moment.
With intermittent quick cuts of her family before, during and after the epic performance, Beyoncé gives herself permission to exhibit her vulnerability. After all, she planned to take the stage at Coachella in 2017 before she was pregnant with her twins. The tour was postponed and we fast forward to ‘Mrs. Carter’ having to deal with the aftermath of a complicated pregnancy, which ultimately ends in a c-section. Similar to friend, and professional tennis superstar, Serena Williams, Beyoncé bounced back harder than ever after her tough pregnancy. Throughout the piece she digs deep and pummels through some of the most difficult days she has ever encountered. She even speaks to her weighing 218 lbs and how she was only able to zip her costume up after months of hard work alongside of a dedicated clean/raw food diet – no meats, carbs, sugars. The director of photography expertly captured an extremely intimate and vulnerable side to the strong and flawless Queen Bey.
Having family members as graduates of some of the prominent HBCU (historically black colleges and universities), Beyoncé was able to tap into the most celebrated moments of their collegiate life. Her full show not only highlighted the history of these schools but also their social networks and fraternal organizations; transforming the stage into one of the most dynamic Black Southern spaces of cultural legacy and pride. Much of it was enunciated with their boot dancing, a traditional dance style for HBCU called J-Setting, in between transitions. These dance formations visually anchored the performance. Contortionists contributed an urban Cirque du Soleil vibe to the display which can be more accurately described as an infused gumbo of Chicago (the musical), Moulin Rouge! and the Off-Broadway play Stomp. To date, the pyramid stage has been persevered onsite at this year’s Coachella as an art installation.
A group of 200 people shared the stage with Queen Bey including Jay Z, Kelly Rowland, Michelle Williams and Solange Knowles. The expansive crew that Beyonce worked and practiced with for 8 months is featured in the documentary, as each individual had their own part in making the event a success. The dancing in her set is not technical, but emotional. The crowd, as well as audiences watching the documentary at home, are meant to feel something from just the way Beyoncé and her dancers, who she handpicked herself, move with each other. The concert experience not only exhibits the immense talent of HBCU musicians but works towards using this heightened exposure to aid these institutions that have been struggling with little resources and grants since their establishment.
After the the release of Homecoming, Netflix will more than likely notice a spike in downloads/subscriptions; Beyonce will notice an increase in her fan base and HBCU enrollment rates will most likely skyrocket. Overall, most audience members will be thrashed into a world of black honor, history and preservation. While the Pew Report notes that there is a varying “black/white digital divide” concerning internet usage, (87% whites, 80% blacks), there is little divide when it comes to mobile platforms. The growth of black presence in media, such as on social media, in streaming services and more, will only continue due to the imminent success of Beyoncé’s partnership with Netflix. Her myriad of success as a dominant Black woman breaks down barriers in the same way Jordan Peele has done for young Black filmmakers across the diaspora. This will become one of the most treasured pieces of mass media and should offer encouragement to both women and minorities to bust through the glass ceiling on all fronts especially digitization and technology.
North Carolina rapper J. Cole has shared a new single called “MIDDLE CHILD.” Released via Dreamville with distribution through Roc Nation/Interscope Records, “MIDDLE CHILD” kicks off what promises to be an unstoppable year for Dreamville.
J. Cole, who is currently in the studio working on completing his sixth studio album, as well asRevenge of the Dreamers III, kicks off 2019 with his new single “MIDDLE CHILD.” “MIDDLE CHILD” is the first official single J. Cole has released since 2013. The single drops just after a massive 2018 for J. Cole, which saw the release of the KOD album and accompanying tour, and a string of features for artists including 6LACK, Jay Rock, 21 Savage and Moneybagg Yo.
In addition to J. Cole’s forthcoming album, Dreamville is in the process of completing three highly anticipated projects, to be released in the first half of 2019: Revenge of the Dreamers III, a collaborative project featuring Dreamville artists in addition to some of the most exciting artists and producers in hip-hop today, Shea Butter Baby, from fast-rising R&B singer/songwriter Ari Lennox, andMirrorland, from boundary-blurring Atlanta duo EarthGang.
Launched by J. Cole in 2007, Dreamville is now widely regarded as a hotbed of eclectic talent. Along with Ari Lennox and EarthGang, the label’s roster includes Bas, J.I.D, Cozz, Omen, and Lute.
About J. Cole:
North Carolina native J. Cole is an acclaimed rapper, songwriter, and producer. To date, he’s earned seven Grammy Award nominations, including two nominations at the 61st Annual Grammy Awards. He’s also landed five albums at #1 on the Billboard 200, including 2018’s widely praised KOD. One of the biggest albums of last year, KOD made J. Cole only the third artist in history to surpass 300 million audio streams in an album’s debut week.
Over the holiday season, we had the opportunity to traverse through NYC and the surrounding metropolitan areas with one of the auto industry’s most capable compact luxury SUVs. Due to its affordable base price, above average gas mileage, ergonomics and technology, the Lexus NX is an easy choice for many.
Value × Performance
Lexus carries a base price of $36,485 and features a 235-horsepower turbo-four engine, six-speed automatic transmission with front-wheel drive. Standard driver assistance features include a rearview camera, lane departure warning, lane keep assist, adaptive cruise control, automatic high beams, and a pre-collision system with pedestrian detection. In addition, one can add all-wheel drive for only $1,400. By upgrading to the NX F Sport (our model tested was approximately $49,000) the vehicle has select components to enhance handling, such as an F Sport-tuned suspension and Sport S and Sport S+ drive modes. Other features in this package include paddle shifters, aluminum pedals, special body panels and badges and front sport seats with enhanced bolsters for added side support. As far as acceleration capacity, the NX should easily offer enough power for the casual driver. The NX 300 (formerly known as the NX 200t) comes with a 235-hp turbocharged 2.0-liter four-cylinder engine, a six-speed automatic, and front-wheel drive. G-force sensors and adaptive cruise control set this vehicle apart from the other SUV’s on the market today.
The NX’s safety features are also top notch and include eight airbags, whiplash-injury lessening front seats, and a full array of available electronic safety systems such as lane departure alert and intelligent high-beam. With all newer Lexus models, it also includes the highly specialized and technologically advanced Lexus pre-collision Safety System. These safety features combined bring the NX to the top of its class.
Standard features on the interior of the NX include an infotainment system with an 10.3-inch display screen, Siri Eyes Free, Bluetooth, a Wi-Fi hot spot, an eight-speaker audio system, and satellite radio. A wireless device charger and heads-up display are a couple of great additional features. Not to mention, those scarlet red race-inspired designer seats and red stitched dash appointments. Of course, climate control as well as heated seats and steering are always winners during the winter months.
Given the already generous backseat room in the car, the NX also includes power-folding rear seats. Additionally, the cabin is extremely quiet even at highway speeds which is a great feature especially for long road trips.
Newly offered Alexa, allows the driver to stream Amazon music, listen to audiobooks and control their living quarters via smart-home. Other capabilities includes their smartwatch to help lock and unlock vehicle as well as monitors their lent model’s speed and fuel levels. One of their most important and intuitive features is Direction Assist, allowing a friendly human exchange with an operator who can input addresses into your navigation while you pay closer attention to the road. And of course in this digitally renovated world, having someone to speak to while on a solo trip can be conducive with driver’s fatigue. On the other hand, for those introverts seeking a quiet more therapeutic ride, they can utilize the remote touchpad to interact with the SUV’s overall cerebrum.
The Lexus NX 300 F Sport is one-of-a-kind. Even in a overly-crowded compact SUV market, the Lexus NX still manages to push through into the limelight. With its interior loaded with technology and its bold exterior turning heads on the streets, this is a great purchase for anyone looking for a sporty yet roomy modern SUV. Moreover, if you don’t like being at the pump every week and being able to fit in a small parking spot within a metropolis – this is a MUST-BUY.
LA AREA! Come out to our FREE Uprising x TRAKTIVIST #representASIAN event at Hotel Indigo’s 18 Social on December 27! Appearances from Young Bae, Masia One, G Yamazawa, Dolly Ave and DJ Achilles Aurelius!
David Castillo Gallery celebrates a pivotal moment during Art Basel this year, with trailblazing news: for the first tie in more than a decade, Art Basel Miami Beach has vetted a gallery from Miami into the exclusive Galleries Section, where only the leading 200 galleries in the world are showcased. The gallery’s singular success story is exemplified by being chosen for this honor, and this year the stars are aligned.
David Castillo at his art gallery with dog (Harry), works by Pepe Mar. Photo by Mateo Serna Zapata. Courtesy David Castillo Gallery.
David Castillo is recognized in the art industry for his long-term nurturing of artists, many represented by Castillo since the beginning of their careers.
“Our artists help to shape the most current vision of contemporary art,” says David Castillo. “My passion for their artistic evolution, and our gallery’s singular trajectory of success, have led up to this pivotal year. We are thrilled to have been invited to the Galleries section at Art Basel.”
Kalup Linzy, Conversations Wit De Curen: IX XI XII Days of Our Ego
The Strangeness Will Wear Off characterizes the enduring legacy of Modernism as a radical and boundary-pushing form into the contemporary moment. The exhibition probes at how artists break with conventions in uncompromising ways, while borrowing pointedly from the past, the new twenty first century avant garde that looks to history as a catalyst for what is to come.
Eamon Ore-Giron, Infinite Regress LV, 2018, Flashe on linen. Courtesy David Castillo Gallery.
More about the artists at David Castillo Gallery’s Booth in Art Basel 2018:
Belkis Ayon’s visual vocabulary is sober yet sumptuous, capturing haunting ghost-like figures in stark contrasts of bright whites and deep blacks.
Deeply enmeshed within the origins, rituals and teachings of Afro-Cuban religions, the moody penumbral magic of Ayon’s work carries with it the mystical legacies that so fascinated her before her untimely death.
Sanford Biggers plays with the broad scales of time and culture in works that collage histories both far and recent.
His floor sculpture marries his interest in participatory works and geometry: while his quilt constructions tell the uneasy histories of America’s violent racial past through the aspirations of Afrofuturism.
Alder Guerrier, Untitled (longevity has its place), 2017, graphite, color pencil, enamel paint and solvent transfer on paper. Courtesy David Castillo Gallery.
Adler Guerrier’s work across collage and print mines the cultural make-up of Miami–and of the artist’s own background as a Haitian American living in one of the largest centers of the Haitian diaspora–drawing out themes of collectivizing belonging, seeking refuge, and claiming place.
Quisqueya Henriquez, Lyubov Popova/Jackie Winsor, 2014, inkjet print on Dibond and a frame inside a frame. Courtesy David Castillo Gallery.
Quisqueya Henriquez boldly claims the history of art for her own, actively mining and recombining references from Conceptualism and the greater lineage of Modernism to reframe this often staid history along new terms. She inserts herself into pictorial modes that largely excluded the voices of those who are Other: women and Latin Americans.
Pepe Mar, Checkerboard, 2018. Photo by Zach Balber/Courtesy David Castillo Gallery.
Pepe Mar’s fabric paintings tell of a contemporary folklore between past and present, place, and time.
His curiously collaged works that draw from the artist’s own oeuvre; much of the fabrics used in these pieces are printed from photographs from along Mar’s own fifteen-year career, creating new contexts for these past works from combining and re-combining these imageries.
Glexis Novoa, Timba, 2017, graphite on Carrara marble (marble recovered from Havana.) Courtesy David Castillo Gallery.
Glexis Novoa sources fragments of Carrara marble from the crumbling edificies of Cuban buildings and draws upon them aspirational images of future cities; grand and gleaming architectures in stark contrast to the current realities of Cuban life. Novoa imagines urban infrastructure as a broad political message and one that pulls at the opposing tensions of what is and what could be.
Xaviera Simmons, Velvet, 2018, acrylic on wood. Installation view, Renaissance Society, Chicago/Courtesy David Castillo Gallery.
Xaviera Simmons’ new body of text paintings, photographs, and sculptural furniture play with ideas of nomadism and the enduring legacies on which the contemporary American narratives is founded; histories of racial inequality, perseverance and unyielding calls for change. Simmons often inserts herself into her works, aligning with the disparate pasts to obscure the boundaries between them and now, us and them.
Shinique Smith, Sometimes I wonder, 2016, acrylic, ink, fabric, collage, ribbon and objects on canvas over wood panel. Courtesy David Castillo Gallery.
Shinique Smith’s body of work takes form across modes of production that collage found objects, second-hand clothing, and references to the flows of global commerce; how goods are produced in the Global South, transported to the West and then used, discarded, and returned to those countries from which they originated for recycling. Her paintings are often of sweeping swirling forms incorporating Eastern calligraphic traditions.
Vaughn Spann, Siren, 2018, polymer paint, dye, prisma marker, fabric, terry cloth on stretcher bars. Courtesy David Castillo Gallery.
Vaughn Spann creates evocative and at times deeply personal paintings that blend abstract formalism with the today’s uneasy social nuance.
The visual vocabulary of his Dalmatian series, which brings together black-and-white patters, examines the shifting associations of various geometries and forms across his childhood, recent history and deeper past.
More about the David Castillo Gallery:
Wendy White, Jeart (Mello Yello)
David Castillo Gallery opened over thirteen years ago under sole ownership after transforming a dilapidated warehouse in Miami, Florida into a 5,000 square foot gallery. After a decade in the Wynwood Arts district, David Castillo relocated for its second decade to Miami Beach’s Lincoln Road and has produced more than 116 fine art exhibitions to date. The gallery’s focus is on conceptual curatorial models as they relate to art historical, cultural, and personal investigations of identity. The gallery works with artists committed to the integrity of their individual histories and studio practices as agents of contemporary climate.
Since opening in Miami in 2005, David Castillo Gallery has become one of the nation’s preeminent galleries in the identification, development, and presentation of groundbreaking artists of color and queer artists, spearheading a far-reaching national and international impact on cultural and critical spaces.
Jillian Mayer, I Am Your Grandma
Gallery Represented Artists:
Sanford Biggers, Kate Gilmore, Adler Guerrier, Lyle Ashton Harris, Quisqueya Henriquez, Kalup Linzy, Belkis Ayon, Pepe Mar, Jillian Mayer, Robert Melee, Glexis Novoa, Xaviera Simmons, Shinique Smith, Wendy White.
The gallery as effectively advocated for the inclusion of its artists in dozens of museum solo shows and hundreds of museum group exhibitions, including: The Museum of Modern Art (New York); MCA Chicago; Fondazione Trussardi (Milan); Harvard University (Cambridge); ICA Boston; The Nasher (Durham); National Museum of Women in Arts (D.C.); Barnes Collection (Philadelphia); Walker Art Center (Minneapolis); MFA Houston; MoMa P.S.1 (New York); Whitney Museum (New York); Metropolitan Museum (New York); The Guggenheim (New York); and the American Academy in Rome among others.
David Castillo holds degrees in History and Art History from Yale University and the Angelicum in Rome. Since 2000, he has dealt in important Latin American, European, and American secondary market works. Castillo has held positions at museums, including the Yale University Art Gallery’s American Decorative Arts curatorial department. He continues to assist private clients in building their collections in addition to managing David Castillo Gallery And has lectured on various topics in art.
In-Car Multimedia Technology Still Vexes Vehicle Owners, but Some Automakers Showing Strong Improvement, J.D. Power Finds
In-car multimedia technology, perennially the leading source of complaints among new-vehicle owners, is still a sore spot for customer satisfaction, but is improving. According to the J.D. Power 2018 Multimedia Quality and Satisfaction Study,SM the number of reported problems with in-car audio, communication, entertainment and navigation (ACEN) technologies has decreased for a third consecutive year, with several technology standouts emerging among manufacturers.
The study measures the experiences and opinions of vehicle owners regarding the quality, design and features of their ACEN system in the first 90 days of ownership. Multimedia system quality is determined by the number of problems experienced per 100 vehicles (PP100), with a lower score reflecting higher quality.
Top-performing vehicles in each segment are as follows:
• Small Mass Market: Kia Rio
• Compact Mass Market: Kia Forte
• Midsize Mass Market: Ford Mustang
• Large Mass Market: Ford Taurus
• Small Premium: BMW 2 Series
• Compact Premium: Porsche 718
• Midsize Premium: Lincoln Continental
• Large Premium: BMW 7 Series
“In-car multimedia has been a problematic category for automakers for several years, as ever-more elaborate navigation, voice recognition and entertainment systems have proliferated in vehicles of every type,” said Brent Gruber, Senior Director, Automotive Quality Practice, J.D. Power. “While the area is still the leading cause of new-vehicle complaints—with voice recognition technology continuing to lead the way as the number one complaint for a sixth consecutive year—we are seeing some serious improvement across the board, with some manufacturers really raising the bar on delivering quality multimedia technology experiences for their customers.”
Data for the annual Multimedia Quality and Satisfaction Study is derived from each year’s J.D. Power Vehicle Quality Survey (VQS). The data is augmented with supplier sourcing information where available, which affords multimedia suppliers with a comprehensive view of the overall multimedia industry, as well as the performance of individual products and systems, and problems that owners experience.
J.D. Power is a global leader in consumer insights, advisory services and data and analytics. These capabilities enable J.D. Power to help its clients drive customer satisfaction, growth and profitability. Established in 1968, J.D. Power is headquartered in Costa Mesa, Calif., and has offices serving North/South America, Asia Pacific and Europe. J.D. Power is a portfolio company of XIO Group, a global alternative investments and private equity firm headquartered in London, and is led by its four founders: Athene Li, Joseph Pacini, Murphy Qiao and Carsten Geyer.
Natural Light is at it again helping recent grads as they enter the real world.
Natty Light recently unveiled the NASCAR resume paint scheme–yes, an actual person’s job resume–and wrapped it around Chris Buescher’s #37 car for the South Point 400 race in Vegas on Sunday.
WHY THEY DID IT
Natty Light gets it–the entry-level job market in 2018 is as competitive as ever, and 44M+ Americans graduate with crippling college debt. What better way to get your resume recognized than slap it on a racecar for a nationally televised NASCAR event.
The chosen candidate is Brian Starr from Burdick, KS. An aspiring motorsports journalist, his head shot, work experience, skills, phone number, and email all appear on Chris’s #37 car. Briar better be ready for his phone to buzz nonstop with calls, texts, and emails from job recruiters!
Additional details for the Netflix panels can be found below (talent appearances are subject to change):
NETFLIX PRESENTS: BIG MOUTH
Friday, Oct. 5– 4:00PM – 5:00PM
Javits Convention Center (Room 1A06)
Get comfortable being uncomfortable with your favorite puberty-driven animated series Big Mouth! Join Nick Kroll, John Mulaney, Jessi Klein, and Jason Mantzoukas, along with executive producers as they take on NYCC with an exclusive live read form a new episode of the highly-anticipated second season. Hilarity is sure to ensue as the show takes on all things borderline raunchy.
Talent: Nick Kroll, John Mulaney, Jenny Slate, Jessi Klein, Jason Mantzoukas, and Executive Producers Andrew Goldberg, Jen Flackett, and Mark Levin.
NETFLIX & CHILLS
Friday, Oct. 5– 7:30PM – 9:30PM
Javits Convention Center (Mainstage)
The midnight hour is close at hand with Netflix’s Mega Block of chills, thrills, and everything else of the other worldly variety. Join the casts of The Umbrella Academy, The Haunting of Hill House and Chilling Adventures of Sabrina as they descend upon New York Comic Con to discuss their highly anticipated series’. Plus, get a first look at The Dark Crystal: Age of Resistance before anyone else. The conversations will leave you sleeping with the lights on and texting your friends about the surprises along the way!