Sharing the joint with young people

A couple of weekends ago, we went to the Low Festival in Benidorm. Maggie, my partner, knows that I like festivals. She doesn't. She doesn't like the push and the shove and the constant standing and, generally, the music does nothing for her. She's decided on her favourite musicians now, and she pretty much sticks with them. She doesn't discount newer stuff; it's just that, generally, she finds it falls short of her established preferences.

I'm going to try to do a piece here on the accessibility of music, but I know I'm going to meander and wander around the houses. So, what I want to say is that music is very accessible in Spain. From local concerts by town bands to municipal festivals for pianists or guitarists, through any number of styles and formats of music supported by local town halls for no other reason than that they see it as their job to enrich the cultural life of their populations. In the bigger towns, small, commercial, performance spaces come and go and nearly all the theatres programme inexpensive musical events as an integral part of their offer. There are also an enormous number of, particularly, summer weekend festivals that have different bands each year but where the line-ups for each of the festivals can look remarkably similar.

I like festivals. As far as I'm concerned, they have several advantages. The first thing is that they are relatively cheap. If we'd gone up to Sonorama this year, the weekend pass would have been 85€, and there were over 150 performances (including the DJs) ranging from old-timers, through the established and nearly established bands to the up-and-comers, some of whom will never be heard of again. At a bit under €2 per performance that's a good deal. The second is that there are several bands on at once. As someone who finds listening to an album that lasts 40 minutes a bit of a chore, the concerts done by people like Bruce, Taylor, or the Stones that go on for hours and hours, seem to me, close to a violation of human rights. Spending twenty or thirty minutes watching one band is more than enough and festivals make it easy to do that because if you don't move on you'll miss the other band just around the corner. Finally, especially in the early evening, there will be bands that are hopeful, playing and singing their hearts out, determined to make an impression. If you went to see one of Bob Dylan's concerts last year, think exactly the opposite. He didn't give a toss about his audience or the quality of his performance. The odds are that, eventually, with some of those bands or artists, sometime in the future, you'll be able to say you saw blah de blah long before they were famous. You'll be able to relate how it was just you with friends and relatives of the band members - and look at them now!

There is a downside, of course. The headline bands are often on way past my bedtime. I'm really not up to being jostled by a bunch of drunken, hormone-driven, and drug-fuelled young people at four am. And as for the abusive beer and food prices and all those little tricks to wheedle money out of you, like charging for the non-returnable glasses, I will stay seal lipped. In fact, this time Maggie was only willing to go because the VIP tickets offered less crowded bars, easy access to the headline bands, and places to sit. In fact she suggested it!

To be honest, I've not been to that many festivals while I've lived here. We've done the Low in Benidorm three times, FIB in Benicassim a couple of times, I did the old SOS 4.8 in Murcia two or three times too, and just once at the B-Side in Lorca. We've considered other festivals much further from home but, as I said earlier, the line-ups tend to be very similar and hotel prices in the nearby towns are as abusive as the price for noodles or shawarma inside the festival site.

There are other festivals that don't follow the format of lots and lots of acts crammed into a weekend. Monkey Week down in Andalucia, for instance, or one we've been to four or five different years in Cartagena—the Mar de Músicas. There, the format is individual concerts, with higher prices and numbered seats, spread over a longer period and using two or three venues which sometimes leads to a forced decision about seeing this or that band. There are other festivals that put on a series of bands at the same venue over either days or weeks. Local examples are San Javier Jazz and Yecla Jazz (jazz festivals sometimes include wildly un-jazzlike bands) or like L'Escorxador in Elche which puts on bands over the weekends throughout the summer. And, of course, not all the festivals are "pop" - there are classical and folk as well as specialist performances like the flamenco down in La Unión for Cante de las Minas.

The local town fiestas used to be a rich seam of music. Somewhere as tiny as Pinoso has put on well-known names over the years, from Estopa and Izal through to David Bisbal and Sergio Dalma. In Yecla, I've seen bands like Viva Suecia and Alaska. Jumilla too used to have decent names, as did EMDIV in Elda (the photo at the top of Shinova is an old one from EMDIV though the band were on at the Low this year) or Aspe both for their fiestas and their music festival AspeSuena. We've seen lots of big-name bands, often for free, over the years but that seems to be becoming less and less usual, presumably due to budget cuts. And, of course, there is a constant trickle of decent or interesting acts that are put on by local municipalities for one reason or another. Our most recent concert was Soleá Morente, daughter to the legendary Enrique Morente and part of an important flamenco clan, at a venue with room for no more than a couple of hundred people. It was really good fun, especially at a whopping 8€ per ticket.

I'm not keen on going to see has-been bands that had their creative heyday thirty or forty years ago and are still limping along on their hits. I know most people don't agree and would turn out to see Sting, Madness, or Simply Red in preference to Cristina Len or Rodrigo Cuevas. They wouldn't do it for me; why go to see has-beens when you can go and see the potential bands of the future? There is an exception—I don't mind going to see people who I consider may die on stage—we saw Tom Jones do a fine job last year, just after that abysmal Dylan concert, and we went to see Raphael in Murcia a while ago and his new teeth and dyed hair gleamed just as they always have, even if he had a bit of trouble with some pesky high notes.

Dylan in Alicante

We went to see the Bob Dylan concert in Alicante yesterday. I'm not a big fan but I have to accept that the man's a living legend, a Nobel Prize winner. How could I not go if he was just down the road? After all, there may not be many more opportunities to see him, given that he's not exactly a spring chicken. Besides, the ticket price wasn't bad. Overall, it seemed like a good idea. I even bought the album for the tour, Rough and Rowdy Ways, so that I'd recognise the songs.

So, we saw him. I thought the concert was terrible. It reminded me of another concert we went to back in around 2005. That was Van Morrison, and he was at Terra Mitica just outside Benidorm. In both cases, we were a long way from the stage. In both cases, the artists played their songs and hardly acknowledged the crowd. In both cases, the stage lighting was just so they could see, not so we could see them. There was no sort of light show. In both cases, the audience seemed secondary to the performer. All those years ago, it was perfectly reasonable that there were no big screens so we could see Van Morrison. But in 2023, not having screens is a form of subtle insult to a fee-paying audience seated a long way from the stage. To make sure we in the audience didn't sneak a couple of photos, they sealed our mobile phones inside padded pouches. The argument was that we should be centering our attention on the man and his music, not on our phones. Hmm? I didn't see any of the professional photographers who usually buzz around concert musicians either. My guess is that they, too, were barred from taking photos of the great man. 

I still go to see live bands pretty frequently. My partner says she isn't fit enough to stand around for hours at festivals anymore and that has rather curtailed our festival going which is a shame as there are enough festivals in Spain for that proverbial squirrell to go from one to the next without ever touching the ground. Fortunately, even locally, there are quite a lot of opportunities to see both newish and established musicians, either for free or at remarkably reasonable prices. It's a pity about the festivals because they are definitely my favorite way of seeing modern music. I like them because they are always good value for money. I like them because they are more impressive than going to see this or that band at this or that venue. I particularly like the festival acts that are on early, the up-and-comers, the bands and musicians that are pleased to get the chance to perform, even if it is at 6 pm. They want to impress. Also, as an old bloke who doesn't like to be pushed and shoved, the crowds for the early bands are sparse, made up of a few die-hard fans, friends and family. An added bonus with these early evening bands is that, with a bit of luck, a few years later you'll be able to say that you saw such and such musician/band long before they were famous. I like festivals as well because I quickly get bored with listening to the same band. If there are three or four stages on the go you have to keep moving to see the maximum number of performances.

Festivals also give you the opportunity to see the bigger, established acts, both national and international, but I often find their performances a bit lacklustre. They're already famous, and they have no particular need to impress, just like Bob. Because whatever he does, however good or bad his performance is on a Thursday evening in Alicante, he'll always be Bob Dylan.

Is it a car, is it a skirt? No, it's a glass!

Being remarkably hip and cool, or whatever you say nowadays for being hip and cool - straight fire Gucci maybe - we go to see a fair number of contemporary musicians. Just so my mum understands I mean pop festivals. We go to see the town band too so, really, we're neither hip nor cool. Never mind. At a music festival, in non Covid times, the security check at the entrance was to look for anything unsafe and to root out food and drink. Nobody likes to pay festival prices for beer or for a rum and coke.

Festivals aren't permanent events, more or less by definition. The jobs they provide are temporary. Most of the staff are temporary. And temporary tends to unknown and unknown tends to untrustworthy. Years ago the daughter of one of my work colleagues went to Ibiza for the summer season to work in a bar. The young woman turned up, sober and unstoned, on time, every day, for the whole of her contract. Her boss was so unused to this responsible behaviour from his young, temporary staff that he paid her a bonus and tried to hire her, then and there, for the next season.

At a festival the temporary staff on the bars aren't trusted to handle money but someone has to, so the bosses get someone to run a cash office in whom they have more confidence. These money handling trusties take the money from the paying punters and change it into little tokens which then become the currency of the festival. It's a doubly good trick because, as well as limiting pilfering, not all the tokens get changed into goods. If, for instance, the tokens are worth 1€ and they are sold in blocks of 10 with the charge for a beer being 3€ there will be a good number of people who buy three beers and have one useless token left over. It's not a huge intellectual leap for friends to pool the left over tokens or for people to queue at the cash office to turn the tokens back into money but both processes are a bit of a faff. The end result is that lots of people go home with a couple of plastic tokens and the organisers get to keep the euros that bought them.

The cost of a small glass of beer in Spain varies but it's still not that unusual to get a beer for as little as a euro, maybe 1.50€. In a decent sized city normal bars might charge around 2.50€ and, if the bar specialises in good looking servers and is trendy - sorry, straight fire - then you can pay a lot more. Nonetheless, even in posh restaurants, restaurants with Michelin stars and strange names, restaurants with oddly named craft beers, I don't think I've ever been particularly shocked by the price of beer; it's not like buying a beer in Paris. One of our local bars charges as much as 6€ for high alcohol (often Belgian) beer and I think that's as much as I've ever paid in anywhere normal. 

At festivals there will be a beer sponsor. They'll have all the bars and serve their, usually, very ordinary lager in plastic glasses at inflated prices. Nowadays the tendency is that you will need a token to buy a reusable plastic glass in a pretence of being environmentally friendly. Festival beer is as expensive as beer gets - 3€ or 4€ for a small glass is pretty usual. The first time it's a shock but by the fifth glass nobody cares much especially if the bands are good.

There are lots of ways to ask for beer in a bar. By name for instance or by the size of the glass. When Britons want a, nearly, pint sized glass (as in Pulp Fiction we have no quarter pounders or pints because we have the metric system) you can ask for a tanque or una jarra. A small glass of beer is usually a caña. The size of a caña varies - in Madrid it tends to be around 200ml but, in the Basque Country, a caña is around a third of a litre. In Castilla y León they have smaller measures that are called cortos, in Andalucia tubos are common and so it goes. Bottles are usually botellín or quinto for the 200 ml size and tercio for the 330 ml size. Again there are regional differences, in Cataluña for instance I think the 330 ml bottles are called medianas by the locals, and there are litre bottles or litronas. Young people and seasoned drinkers often order beer in litronas to share.

Recently we've been to see three bands in the music festival in Cartagena called the Mar de Músicas. With our allocated seats located I went to find the bar and I was pleased to find that the bar staff dealt in cash (and cards). Maggie's wish for a vodka was thwarted though - only soft drinks and beer. I order a couple of cañas and paid the 3€ each. Beer in hand I now have time to read the price list and I notice that they have a bigger, squashy, plastic glass which contain as much as a litre and the price is 7€. This sort of big plastic glass is habitually used for cubatas and cubatas are mixed drinks in the rum and coke, vodka and lemon style. At the Mar de Músicas, and at most festivals, you don't have to go to the bar. Men and women with beer filled backpacks wander the auditoria happy to bring it to you. Near us a couple of young women were ordering beer; they checked prices and quantities and eventually asked for a big plastic glass full of 7€ worth of beer and two smaller empty glasses. They were going to share. As they ask the price their question is "How much is a mini?". I'd forgotten that's what the big glasses are called. Spanish irony I presume.

Being old and pernickety

We went to see a band at the Mar de Músicas in Cartagena a few days ago. The Mar de Músicas is a series of musical concerts held over a couple of weeks in the Murcian city of Cartagena.

Spain was quick to open up theatres and cinemas and audience venues in general after the total shutdown in the Spring of last year. The venues adapted. Things, generally, had to be booked online beforehand, even for free events. The programmes started much earlier than is normal in Spain. The capacity of venues was drastically reduced and there were all sorts of restrictions about entering and leaving the venue and where you could sit. I have felt much less safe in supermarkets, where the tussle for the unblemished and tasteless tomatoes went on much as before, or in bars and restaurants, where friends and acquaintances greet each other effusively, than I have over the Covid time in a theatre or cinema.

Some of the Covid measures were a nuisance. I don't like giving my phone number and email address away nor having someone check my temperature but, the broader democratic freedoms aside, it wasn't really either onerous or even intrusive. In fact there were definite upsides. The cinemas closed for a while but for months after they'd re-opened they were more or less deserted and nobody crunched popcorn or commented noisily on the action. It's only in the last month or so that I've had to share the film with more than a couple of people. Cleaners roamed in mobs, the hand soap dispensers were filled to the brim, the hand towels were waiting, no sweets, no popcorn and lots and lots of space around the seats. Even in an empty cinema, with just the two of us, people would check that we were still wearing masks. It all felt secure. In fact there have been no outbreaks linked to cinemas.

Theatres have been the same with spare seats between patrons and whole rows of seats left empty to keep people apart. The productions have fewer people on stage than usual and musical performances dropped from full orchestras to quartets and wind ensembles. Even contemporary music concerts were carefully controlled with the audience seated on some pre-numbered chair with lots of space around. Security guards prowled to make sure that you stayed put unless your bladder demanded otherwise. My primary school teachers would have approved.

Now, as I type, lots of us, the old and the not so old, have been vaccinated, immunised maybe. We only have to wear masks inside or outside when we are in crowded spaces. The tables in the bars are closer, waiters are back to wiping down tables with dirty cloths and the lottery as to whether there will be hand soap and paper towels in the toilets is back to normal. We are forgetting very quickly how much effort has gone in to keeping us healthy and the infections, if not the deaths, are showing how blasé we have become about Covid. The TV is full of medical people complaining about full wards, high occupation of intensive care beds and the postponement of routine operations.

Covid has been bad, sometimes terrible, for all sorts of people and for all sorts of organisations. On a small scale I felt quite sorry for young people. Like very old people they only have limited time to enjoy their age. When I was at university I was able to take full advantage of my first taste of independent living. The problems of car loans, mortgages, finding work and all those boring adult things were still to come. It was a time for experimentation and new things. If I'd missed that brief slot it would have been gone forever. That's why I can empathise with the young people who feel aggrieved that they were criminalised for simply wanting to dance or to drink rum and coke with other drunken friends at 4am in the morning. 

It seemed to me that the authorities needed to recognise that this section of the population, in a rich, Western, democratically free country has high expectations. What they want may be trivial on the scale of things but then so are most of the things that most of us want most of the time. Young people's wants should not be less important than other sections of the community just because what they want isn't something particularly deep and meaningful. Nobody seemed to think that families wanting to share time together was valueless nor is there a public outcry when victorious sports people hug each other or when politicians rub shoulders at Very Important Summits. Shutting down the dance clubs might be an easy option but opening the dance clubs and keeping them safe should not be beyond the wit of a rich and well organised Western state.

And that's how we get back to the Mar de Músicas. We'd gone to see Califato ¾ which is a band from Andalucia whose songs mix traditional musical elements, from that region, with other styles from rock and punk to electronic music.

The band came on stage at the appointed time. This is a nearly unknown phenomenon in Spain. It surprised at least half the audience which arrived after the off. Most of the late arrivals seemed to need to pass directly in front of my view of the band. Meanwhile, not in any big way but in an annoyingly consistent way, the tallest man on the mixing desk chose to stand rather than sit. He was just in my line of sight. The beer trolleys and the people with beer packs on their back wandered around. They too seemed determined to pause in my direct line of sight. Lots of the audience moved chairs to be nearer their friends, their mask use was less than consistent and, rather as you would expect, they stood up to dance gripping on to their big plastic beer glasses. 

At a normal concert with normal rules I'd have done what I always do when the off duty basketball player stands in front of me, when the stoned group of mates start to dance and tread on my toes, when the really drunk little man starts to unintentionally fling beer around with his drunken dancing and when I just feel uncomfortable to be wherever I am in the seething crowd. I'd move. But I wasn't supposed to move and being a rule following fuddy duddy I simply stayed put and seethed. Nobody was really doing anything particularly wrong, it just peeved me. 

Actually I didn't care for the antics of one of the band members either; some big fat bloke who seemed to delight in showing off his belly. I suspected that, were we ever to meet in a quieter setting, he and I would have found little to talk about and that he may have relieved the boredom by lighting his farts. Or, of course, he may be erudite and charming man. And, to top it off, I didn't understand a word they said. Again that's hardly surprising as the band's last album made heavy use of a spelling system called EPA (Estándar para el andaluz or, under its own, non official rules, Êttandâ pal andalûh) which is designed specifically to represent the Andalucian dialect in a written form. Not understanding what is said in Spanish always makes me cross.

The terrible thing was that the music was really good but I couldn't both seethe and cheer wildly so I chose to sulk.

Keep on truckin'

I don't remember the film title but I do remember the little gasp of horror from the audience as Michael Douglas padded across the room in half light heading for the bathroom. The reason for the concern was that he had a sunken, old man, bottom and, though I haven't dared to look recently, I suppose mine is too.

So far as I know I have no chronic illnesses though I know from people around me that your luck can change in seconds. I do often feel old though. Old as I feel the pain in my knees. Old as I realise that I'm gasping for breath after climbing a few stairs. Old as my arms ache after a bit of sawing. My feet hurt all the time, and the tinnitus is really loud. And so on and so forth. I'm getting old. No, let's be right about it, I am old. I know that people around me refer to 45 year olds as middle aged but all I can suppose is that they failed their "O" level sums.

Covid, and the responses to it, have kept us all quite hemmed in for a while now. Of course it has done much more. It has killed people, destroyed businesses, overpowered health services, left people penniless, challenged basic democratic rights and much more but, in our case, it has mainly hemmed us in. Lots of normal activity has stopped. Spain, a country where the smallest centre of population has a fiesta to celebrate its patron saint has cancelled them all. Covid is going to do to Christmas what the Grinch failed to do. 

On the cultural side the few concerts and sports events that have found a way to continue have been severely limited or have no spectators. In like manner the big museums may still be putting on new exhibitions but the the visitor numbers are scandalously low. Book fairs have been cancelled left right and centre. It's true that he cinemas are open but there are almost no big budget Hollywood films to see and even the domestic releases have been scant. Who wants to waste all that effort in releasing their film for paltry attendances? Of the five cinemas we most usually go to one has closed, probably for good, and one is running on a five day week. Current travel restrictions mean we can't use three of them; they are out of bounds. I went to a 4.15pm film screening last Wednesday and I was the only person, in the whole of the 11 screen cinema, apart from staff. Last night we went to a theatre in Elche and there were six of us in the dress circle. Down in the stalls half of the seats were taped over but occupancy of the remaining half couldn't have been more than a third. It was all a bit lifeless and depressing. You're living it too. You can add hundreds of similar examples and we're not even particularly confined at the moment.

Despite the fact that I keep doing it, wandering around yet another cathedral or a town centre hasn't really interested me for a while. But for the captions on my photos I often can't tell one from the other. Much better, in my opinion, to go to somewhere when something's happening. So I remember the community opera performance in Peterborough Cathedral much better than I remember Peterborough Cathedral. It's fine popping out to a local town, going to the coast or eating out but for me it's better when there is a twist to that. When the town has a food fair or there's a tapas trail, when something out of the ordinary is happening in the streets, when you've gone because you want to see the latest blockbuster exhibition or maybe something less obvious. Sports events, film festivals and the rest are, to me, great reasons for going somewhere.

It's not that my heart and nerve and sinew won't hold on for a while longer yet but it is all a bit wearying.

Please wash your hands

We went to a concert by La Habitación Roja last night. When I bought the tickets, only a week or so ago, the event was scheduled for the Teatro Principal in Alicante - all green velvet and gold leaf. Theatres have, obviously, been hit hard by the Covid thing and one of the reasons I bought the tickets was to do my bit for a local institution. A few days later I got an email to tell me that the venue had been changed to the bailey of the Santa Bárbara Castle in Alicante. Safer they said. Fewer viruses in the open air.

The castle in Alicante is on top of a big hill. Although it's a fair drag you can walk (or drive) to the castle on a road that starts from near the Archaeological Museum. On the seaward side you can get to the castle by using a lift that is accessed through a long tunnel. Along with the details for the change of venue the organisers said that the car parks behind the castle would be open and that the lift would be working. Yesterday, a few hours before the concert was due to begin I got a second email to say that the lift and castle car parks were now closed. There would be a minibus shuttle service. Covid certainly keeps organisers and rule makers on their toes.

The message said that it was still possible to drive to the two small car parks half way up the slope to the castle but that the police might close the car parks if there was too much mingling going on there. I suspect that had a bit of a hidden message. Young people in Spain have a fondness for impromptu gatherings which are called botellones (from the word for bottle). Often botellones are linked to parked cars and their music systems. Youngsters take the vodka, gin and mixers to the event in a plastic carrier bag, poorer young people take cartons of wine ready to mix with coke to make the disgusting but knee buckling calimocho. Obviously enough there is no set recipe but basically a botellón is an open air knees up with booze, snacks and music. The talk, amongst we older citizens, is only ever of booze, we never mention anything smokeable or poppable. Botellones, like discos, have been taking a lot of the heat for the recent increase in Covid numbers amongst young people. Well, that and family get togethers.

We have to wear masks all the time when we're in the street and in all public places. Given that eating or drinking whilst wearing a mask is counterproductive we can remove them to eat and drink, for instance outside a bar. We are supposed to pop the mask back into place between sips or whilst we're waiting for the pudding to arrive but most people don't. There are regular stories of police getting physical with someone who says no to mask wearing and the fines can be ludicrously high.

So, on the way to the concert we stop off for a drink. Our route to the terrace is clearly marked. No bar service, just table service. Gel at the entrances, limited access to the toilets following a marked route. A reminder about 40 second hand washing. Variations on a theme but the usual sort of stuff to try and check the spread.

After the bar we join the queue for the minibus shuttle. People aren't exactly careful about keeping 2 metres apart but it's a forgetful rather than defiant proximity and the line is much more widely spaced queue than normal. Nobody kisses, nobody hugs and nobody pumps hand on greeting friends. The minibus is an anomaly though. It smells very strongly of something ready to go hand to hand with viruses and bacteria but, nonetheless, we ride sardine like.

The concert is seated. The chairs are numbered. It's a slow process at the entrance; gel on hands before name and surname, the door keepers find you on the paper list and direct you to the designated seating. I notice that my phone numbers, email and address are alongside my name, presumably in case they need to hunt me down later. Our two chairs are a couple of metres from the four to the left and the five to the right. We are reminded not to wander around during the concert.

And so it goes. I visited someone in hospital yesterday. Masks and gel a go-go. The floor of my pal's room was mopped and his bathroom cleaned twice whilst I was there. There was a reminder from the local town hall about the protocol for funerals after someone died in Pinoso last week. Jumilla, one of our neighbouring towns over the border into Murcia, is sealed off from today because of the increase in cases. Nobody in and nobody out. Procedures and processes everywhere.

2020 is a strange vintage.

Deflated

Last year we couldn't go to Yecla, to the Jazz Festival. We went to St Petersburg instead. Tough call - eighth largest town in Murcia or the jewel of Tsarist Russia.

We went to Yecla in 2015, 2016 and 2017 though. Absolutely cracking event, usually five nights. The bands are often really good - good enough to cost money with Amazon later. And the acts are introduced by one of the wise, avuncular Radio 3 DJs which adds to the fun. Even better it was free and, because it was free, you could sit where you wanted. Given that the Concha Segura is all red velvet and gilt choosing between stalls, boxes and the dress circle is a difficult but pleasurable call. We even tried the Gods one year. All we had to do was to turn up early enough to get the full choice.

The Festival started yesterday but Lord Grantham, Maggie Smith and the rest won out. Dubbed versions are fine but the once a week English language version film is better. Downton Abbey in Spanish? Hardly!

Just before we set off for Yecla tonight Maggie asked if I'd noticed that the Festival was no longer free. I hadn't. Tickets were 3€. We've never had any problem finding a seat when it was free even when we arrived close to kick off so we thought that, by arriving early, half an hour before curtain up, we'd be fine with the, new to us, ticketing system.

There weren't any tickets left. I'm away tomorrow, we have another concert on Friday, "Anything for Saturday?," we asked. Nothing. So no Yecla Jazz festival for us this year.

Sad. And a note in my calendar to buy early next year.