As I stepped up to the Lincoln Center Fountain for the International Body Music Festival, the first signs of performance art I witnessed were similar to what you may see in the streets of China town in New York or San Francisco.  A group of five danced around with a big lion, clanging cymbals, and waving bright orange pieces of fabric.  This “Lion Dance” wasn’t anything new or original; nothing I hadn’t seen before.  The group moved from near the fountain over to the outdoor stage where we were to set our attention for the main attraction.

For the first approximately 17 minutes of the concert itself, two women, seemingly very close (turns out they were cousins), stood in the middle of the stage, holding each other, and sharing one microphone.  They were “throat singing”, which they described to us (the audience) as “competing with their voices.”  They completed six sets of their throat singing, which was a little too much.  More interesting than the performance itself was observing the reactions of the people watching it.  Expressions ranged from smiles to confused “what’s going on” looks.  The whole section was definitely amusing, though.

The next act of the festival included a group of three men and two women.  It started off with some beat boxing, like the background to a new hip-hop song, which was enjoyable.  The two women were soulful singers, each with an Alicia Keys-type voice.  One woman, wearing a purple jumper (Destani Wolf), branched off into a solo, which was fantastic.  People came out from the wings of the outdoor stage and began accompanying the songs with some tribal-like dances, clapping, and moving around in a circle.  The performances by the three men tended to be a little dull in comparison to the ones by the two women.  The ‘tribal dancers’ went into some unconventional form of dance with an odd backbeat, and after a while of it, it got a little tedious to watch- or rather, to listen to.  Of course, when the woman in the purple jumper came back to do her own thing, the show became more entertaining.

Following this act, a man in a pin striped vest and matching suit pants sat down in a chair and step-danced.  Things were turning into one step team after another, like I was at my high school pep rally.  The whole act was something you could tap your foot to or nod your head to, but not too much more.  In fact, that was basically all the audience seemed to be doing.

The next group that got onto the stage after the pin striped man (Derique McGee) exited did mainly the same thing he had been doing, only without the chair.  There was clapping, stomping, and even some of making that hollow popping sound with an open mouth and the palm of your hand.

Overall, the whole experience of the show being outside made it what it was.  With the changing bright lights behind the screens surrounding the open stage with the Lincoln Center banners hanging, it really was a beautiful sight.  Raindrops were falling approximately every seven seconds, accompanied by the distant sounds of ambulance sirens in the background.  Very ‘night in NYC’.

Back to the actual entertainment.  A new guy was on stage clapping, snapping, and tapping his chest.  The audience imitated his motions and movements, which was a welcome interaction.  Finally, a man came out to the middle of the stage and started singing in Portuguese to accompany the stomping and clapping.  That really livened the performance up, as it was getting a little old with the constant step-team acts.  The novel excitement was short-lived though, as the rudimentary stomping and clapping resumed.

By 9 pm, after the show started at 7:30, you could see the crowd thinning out.  I wasn’t sure if I should blame the drizzle or the entertainment, as it was getting a little too repetitive for my taste, and apparently, the taste of the rest of the audience.  But, on a positive note, the obnoxious commentator man seated behind me left the show to “go hear some music on Columbus,” or so I gathered from his too-loud voice.

The man singing in Portuguese came back out on stage, once again making things more interesting.  The music was a kind of rap, which apparently sounds good in any language.  It’s always nice to hear sounds come out of mouths and not just hands and feet.  The ends of our extremities can only be fascinating for so long.  The whole scene with the ethnic music and dance made me feel a little as if I was a visitor in Disneyworld’s Epcot.

But of course, the stomping and clapping had to predominate once more.  When they finally left the stage, they got a standing ovation, which I wasn’t sure was because they were so great or because people thought the whole thing was over and they were simultaneously getting up to leave.

Fortunately, the group of five with the very talented woman came back on, and ended the whole festival on a positive note, with some singing, which was a welcome change.

Seeing the International Body Music Festival was a great thing to do on a Thursday night, but I wouldn’t peg it as “must see while you’re in town.”  It isn’t an absolute ‘can’t miss’, but it is definitely entertaining, and probably nice to stop in at for a while on the way back from dinner, as it was free and it seemed like you could just come and go as you pleased.  Even from the streets outside of Lincoln Center it would have been great to listen to.  The whole experience of the show and music was definitely enjoyable, as it’s nice to hear music coming from our selves alone, and not just with the assistance of instruments or objects or high-tech sound systems.  It’s amazing to hear what we can do with just ourselves as resources.

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The International Body Music Festival at Lincoln Center was awesome, and worth the trip!  The first act were two cousins, Celina Kalluk and Lisa Idlout, and a sight to behold.  They walked towards each other and it seemed very suggestive when they were making grunting noises and holding each-other close, swaying from side to side.  The noises were apparently the sounds of Kattajaq, or Inuit throat singing.  They amazed me with their throats and the similarities between the noises they were imitating.

The next act was okay but could have been better.  The SLAMMIN’ All-BodyBand were magnificent with their impressions of the trumpet and the base.  However, the dancers were ill-prepared and it seemed that one dancer was asking how to dance a certain dance, tut tut tut, during the performance.  Also, their attempt to do dance theater with a slapstick routine (“Tea For Two”) wasn’t great and in my opinion my brother and sister (ages 8 and 6) would be better suited for this.

All in all the performance was good and I really enjoyed it.

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A universal language that we all speak is music, and we can use our bodies in many different ways to create it.  After nearly three hours at the International Body Music Festival Concert, presented as a part of Lincoln Center Out of Doors, all of the performers deliver a mind-blowing, collaborative encore which feels like it will last through the night.  Although by this point most of the audience members have already dispersed, the performers aren’t frazzled.  In fact, they make a rather admirable choice and raise their energy even more.

I knew that I was in for something special when the festival started off on a high note in Josie Robertson Plaza with the Lion Dance. I was immediately overcome with a flow of color and sound when these performers claimed their twenty minutes of fame.  I was fully enticed as an audience member throughout the entire Chinese dance. The piece starts with a single man and a dragon which slowly grows as more people join in until there’s finally a procession of over twenty people. The performers, aided by the drum and their creative yet traditional Chinese costumes, make the performance all the more exciting.

Upon watching this performance, I had the opportunity to be exposed to some new types of Music.

The Canadian cousins Celina Kalluk and Lucie Idlout perform the ancient art of throat-singing.  Although perhaps a little too intimate to be shared with an audience, their songs left me blown away at not only the capabilities of the human vocal chords, but also the way two people can musically play off of one another. The two cousin’s stand pressed up against each other with the microphone between them.  One lets out a croak and they’re off; responding to each other as they sway back and forth.

The members of the jazz-based SLAMMIN All-Body Band and the Brazilian Circle Orchestra Barbatuques however, not only play off of each other, but also the audience.  These engaging performers get the audience involved as they clap, sing and dance their way through their entire repertoire of songs.  Their first half hour on stage proved just how slammin-good they were but after that, it seemed to drag on, making the audience lose focus.  However, Derique McGee the traditional African American hambone performer gives us a short and sweet excerpt of his talents. McGee possesses many qualities: talent, passion, charisma, everything that you could want in a successful performer.

The International Body Music Festival Concert: “The Americas” was filled with fun, exciting, ethnically diverse talent from China, to Northern Canada, to the United States, and down to Brazil.  This was a performance unlike most, and can be enjoyed by tourists, and native New Yorker’s alike.

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Regardless of musical inclinations, everyone is born with the potential of being a human instrument, equipped with a voice and a body.  The first music probably exploited these tools to stomp, clap, sing, snap and chant.  On August 12, at the International Body Music Festival concert, presented as a part of Lincoln Center Out of Doors, various artists from throughout “The Americas” paid homage to the roots of music.  The performances were a slamming step away from the catchy lyrics and swooning electric guitars of pop; they were deceptively simple, refreshing and culturally insightful.

Artistic director Keith Terry’s SLAMMIN All-Body Band gave groovy, soulful and relaxing renditions of Eden Ahbez’s “Nature Boy,” Dylan Burns and Kaz James’ “I Like the Way (You Move)” and Stevie Wonder’s “Overjoyed.”  The balance between words and sounds was soothing: beat boxer Steve Hogan provided the beats and bounce, Destani Wolf sang with melting vocals, and Bryan Dyer strummed a groovy imaginary bass.  The group’s accompanying guest dancers had contagious enthusiasm but ultimately, their simple formations, sounds, and moves contrasted with, and detracted from, the more complex musical core.  A break in the middle of the set was a cute attempt at humor—ballroom dancing to “Two for Two”—that soon exhausted its welcome.

To illustrate the variety of genres and people involved in body music was an eleven-person group hailing from Sao Paulo, Brazil—Barbatuques.  All sported gray and black but all also spanned across the ethnic (and size) spectrum.  Many of their songs had a “quirky mystic” quality: there was lots of animal hooting, bubbly cheek clapping and finger snapping that frequently transitioned into darker and heavier body playing, stomping and clapping.  The sheer massive size of the group allowed for resonating and complex arrangements of body sounds.  The call and response so characteristic of the night’s music was best put to use by Barbatuqes, who sent out one of their members to jest as well as teach the audience a couple ways to play the human instrument.

Inuit throat-singing Canadian cousins Celina Kalluk and Lucie Idlout tightly held onto each other, the microphone separating their lips by mere centimeters, as they gave and took breaths to reproduce sounds from nature—albeit more guttural.  While the act was not a common sight for most, the pair quickly eased any culture shock by inviting the audience to laugh at the end of each “game” with them.

Awkwardly placed in the middle of the two big groups was solo Hambone performer Derique McGee.  But the programming issue was countered by a little hand slapping and moonwalking; his animated facial expressions jolted giggles throughout the audience.  As short as his performance was, it was still representative of the festival’s essence; as much as the performers are paying dues to the past, they are also revitalizing and innovating body music on the whole.

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Imagine a three- hour concert with no instruments at all.  If there are no instruments, what is there?  At Lincoln Center’s International Body Music Festival, the viewers were invited to find out. The objective of the night was to expose viewers to the lines where music and dance blur.  All of the acts had something in common: the human body was used to its full potential.

The first group was the throat singers Celina Kalluk and Lucie Idlout who hailed from Nunavut, Canada.  This was definitely something I had never heard before.  The two women held each other and produced guttural sounds as they passed air back and forth.  As they shared breath, they shared energy; which created a deep bond between them.  There was an air of whimsy between the pair- each song ended with a laugh.  They panted like dogs pawing at doors.  Of course, none of this is innately Western-musical; a disc jockey would probably get fired if he tried to play this kind of music on Z100.  Yet, this was an interesting exploration of the human body as an instrument.

The SLAMMIN All Body Band was the most impressive out of all the acts.  The only way to describe what they did is “Step-Up” meets doo-wop meets college a capella meets soul.  The band was quite diverse: there was a beat boxer, a body musician (and artistic director of the night) and vocalists.  When they covered “Overjoyed,” by Stevie Wonder it was clear that their knowledge of soul ran deep.

The beat boxing and body music backing up the vocalists was beautiful yet unobtrusive.  I would quickly forget there were no instruments at all.  To show off the body’s capabilities some more, the musicians imitated tribal drums and horns.  They were also only aided by a couple of microphones.  These facts only furthered the point that using instruments and big sound systems were not necessary to create an amazing sound.

Each of the artists was talented in their own way.  They would have solos to prove this, but as soon as they had their shining moments they disappeared back into the group seamlessly, showing the true meaning of an ensemble.  One of the members who stood out was Keith Terry, the artistic director and the resident body musician.  He was able to metaphorically rub his stomach and pat his head at the same time.  He would clap one complicated rhythm and be able to step another.  He made all these wonderful sounds, and the sirens surrounding Lincoln Center seemed to echo his steps poetically.

The next act of the night was Derique McGee, who performed the African American music of Hambone.  His act was short and folksy.  He said that he was taught Hambone by kids down south, and that feeling of childhood was well reflected in his act.  His act was much more scaled down then the SLAMMIN All Body Band but still powerful.

The final group was the Barbatuques, a bunch of bright shiny individuals who promoted a sort of playground vibe.  There were a lot of stepping and hand games.  This playground vibe resounds with anyone of any age or culture.  One of the Barbatuques used the only instrument in the festival.  Though the tiny flute he used added to the song they were playing, I felt like it tried to cancel out all of the body music happening without instruments.  The party really started later in their set when they began to sing in Portuguese, even incorporated Portuguese rapping.  Using Portuguese certainly made the performances more ethnic and fluid.

Though I probably would not listen to or watch body music out of my own volition, the performances were varied and skilled.  It was definitely an eye-opening experience, and it was fun to learn about different cultures.  It was also interesting to hear music using only bodies, since I’m very used to the overproduced, loud, studio-manufactured sounds of today, where Autotune is unfortunately a staple.  I’m very happy that an organization as big as Lincoln Center is so open to new and different work and displays them for free under the stars.

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Curious crowds of onlookers joined to circle around beautifully costumed Chinese performers.  Their white makeup complemented their bright garments.  It could have easily been a picture perfect scene from one of their all too familiar exotic parades.  The swarms of people sadly took away most of the view.  Yet entertainment mostly arose by the laughs and warm smiles coming from the troupe’s faces.  And without much trouble, their growing audience followed their blaring percussive instruments into Damrosch Park, ending the “Lion Dance”.

International Body Music Festival Concert: The Americas last Thursday,  as a part of the Lincoln Center Out of Doors Summer series, fused traditional and contemporary forms of music using only the human instrument.  There was but one question on my mind all evening.  How?  How was it humanly possible that all of these distinct sounds  were coming out of the mouths of so few people on stage?  How could their timing be so nearly impeccable?  Well, after a time I stopped questioning and let the music consume me.  It was a different kind of music though, one with an infectious powerhouse beat.  You could say it was an a capella line-up of outrageous individuals, recreating the primitive music of our ancestors.

It was all too easy to forget that the festival encompassed individual talent merging into spectacular ensembles.  Each and every person lent their unique abilities to an evocative concert of cultural appreciation.  Vocalists Zoe Ellis and Destini Wolfe of the SLAMMIN All-Body Band were the roaring songbirds of the night.  Destini Wolfe’s R&B take on Nat King Cole’s “Nature Boy” unleashed her ravishing riffs and commanding belt.  Slammin’s beat boxer Steve Hogan acted as the band’s human drum set.  It was completely inspiring to watch music being created before me.

San Francisco’s own Derique Mcgee appeared in the festival, performing the traditional African-American Hambone.  He even sneaked in the moonwalk, and developed  the dance with his comical antics.  Cousins, Celina Kalluk and Lucie Idlout bewildered spectators within the first few minutes of the fest.  One made dark guttural noise while the other “sang” in a higher pitch.  They noted that mostly men “throat-sing”, and all the power to those daring ladies.

Remember that last infectious song you just couldn’t get out of your head for days?  You couldn’t help but instantly download it onto your iPod and keep it on repeat until your body rang with its addicting chorus?  That is what the Brazilian troupe, Barbatuques,  came across as in their NY debut.  Their time on stage was considerably longer than the other acts.  They incorporated clapping and stomping into their dance numbers and even chanted in Portuguese.  So they went in the right direction because a little change in language always livens things up.

My experience from that evening was more of a cultural awakening than anything else.  Music isn’t only what we listen to on the radio. Some music always needs to be performed live to be heard.

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I sat looking at the platform and wondered what would be in store for me tonight.  The large, modern stage had been set up outside Lincoln Center in the Damrosch Park band shell for the International Body Music Festival.  As the evening grew steadily darker, and the rain fell more steadily, the show began.

The performance by Celina Kalluk and Lucie Idlout was like nothing I had ever heard before.  Cousins, the two women were of the Inuit tribe of Northern Canada.  They began to perform Inuit throat-singing.  They stood very close, facing each other.  Their costumes were modern but with native twists such as fur collars and hoods.  Sharing one microphone they sang together.  Once voice was very deep and the other one higher.  The singing is a game.  One breathes in while the other breathes out, one leads and the other one follows, always trying to outdo the other.  The music was very coarse but Kalluk and Idlout also performed a softer version that involved more breathing.  The Inuit throat-singing had the festival off to a fun start.  The women began singing imitations of their environment.  Having the audience guessing, they performed a handsaw and a seagull.  Remarkably, both songs sounded like the object/animal they were trying to impersonate!  Both women had fun with the performance and that was conveyed to the audience.  With various pitches, speeds, and subjects, Celina and Lucie’s performance wowed the crowd and me.

Continuing on from the previous act, SLAMMIN All-Body Band came on.  Vocalists Destani Wolf, Zoe Ellis, and Bryan Dyer, beat boxer Steve Hogan and body musician Keith Terry stepped out onto the stage.  They all wore neat clothes but were definitely things they could move in.  Tucked into the right hand corner of the subtly lit stage, they blew me away.  Influenced by jazz, funk, R&B, and world music, they combined vocals, body, and dance into a magical music form.  Each member made different movements and created different sounds, but together they created a harmonious melody.  Each member had solos that proved to anyone in doubt that this group had talent.  The solo piece by Zoe Ellis was very moving and she blended the vocals with the music created by the other members.  However, the solo by Destani Wolf left something to be desired.  She was over powering and took away from the body music.  Steve Hogan was by far my personal favorite.  As a beat boxer, he controlled the beat, speed and emotion of the music.  Dancers entered the stage at some points but were trying to hard to be the stars of the show.  What struck me with SLAMMIN All-Body Band was that they combined simple, everyday movements, a stomp of the foot, a slap of the knee, a hand clap, and put them into such a sequence that music was created.  The Band had fun and it spread to the audience when Keith Terry got the audience involved, having it repeat his movements.

Derique McGee performed African-American Hambone.  What is Hambone?  I had no idea until he explained.  Derived from the sounds of African drums, the music form was born when slaves in America had their drums taken away because their owners thought they were using them to send messages.  The music form honors family, culture, and ancestors.  McGee began to play, using all parts of his body.  The rhythm and energy was infectious.  Derique enjoyed performing and the audience enjoyed watching him.  He never stopped but called out what he was doing at the time.  Derique was funny, personable, and thoroughly enjoyable to watch.  He incorporated new and old when he did Michael Jackson’s moonwalk.  From his performance I learned that music is a way to freely express yourself but it has a lot more to do with being free, for a moment or forever, than I had ever thought.

Barbatuques graced the stage next.  While this was their New York debut, they have seen the world.  They have performed internationally in countries including South Africa at the World Cup, France, Spain, Switzerland, Portugal, Lebanon, Russia, Senegal, Columbia, and China.  They entered the stage slowly in procession.  Each wore clothes in various shades of black and grey.  It took me a while to figure out how each costume was connected, but then it hit me.  They all had some form of the same symbol on them somewhere, a circle with two stick arms, in the motion of clapping.  Oh how fitting that symbol was!  They exploded with stomping, clapping, and making noises with their hands and mouths.  The volume went up and down creating wonderful beats and rhythms. The choreography was impeccable.  Each member knew exactly what they were doing and had unique sounds that they made, blending perfectly.  The creation of a balance of body, voice, and vocals created amazing, heart-pounding music.

Amidst near pouring rain, the evening closed with a group presentation.  SLAMMIN All-Body Band and Barbatuques performed together.  They even brought out Celina Kalluk and Lucie Idlout and Derique McGee.  This final performance together showed that even though these groups were from all over the world and spoke different languages, music is a language unto itself that anyone can speak if they have a passion for life, excitement, freedom, expression, and a touch of magic.

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Keigwin + Company at the Joyce Theater this spring. (Photo: Andrea Mohin)

For their 2010 season at The Joyce Theater, Keigwin + Company provides provocative commentary on city life while still presenting accessible entertainment—their dances are quirky and full of wit.  Each piece has a one-word title and works off a simple, straightforward concept.  But the company’s style and innovation come from being able to revitalize old ideas, not necessarily create abstract or complex ones.

“Caffeinated” (2007) sets up a precedent for the rest of the program.  The dancers enter in a single file, jerking coffee cups, toward their face.  There is no clear narrative, per say, but the dancers’ repetition of over-energized, stiff, almost robotic movements makes for an unnerving, yet comical, social statement on the urban lifestyle.  While the dancers sport variations of gym gear, creating a sense of individuality, by following the same progression of movements, they all need caffeine to get through the day.

Keigwin’s ability to give new energy to simple, often overworked concepts shines in “Mattress Suite,” six different dances strung together into a tale covering several romantic relationships.  In “Dress” (2003), Nicole Wolcott anxiously waits for her bridegroom—a similar state of mind Keigwin expresses in “Tuxedo” (2003).  But the clichéd premise is enlivened when, against the backdrop of Giuseppe Giordani’s emotional and operatic “Caro Mio Ben,” he begins to interject some slow-motion hip thrusts.  The two knock down premarital walls, symbolized by a mattress at the center of the stage, in the intimate “Straight Duet” (2003).  But soon enough, Keigwin leaves the relationship to couple with two other men clad in white briefs (Aaron Carr and Matthew Baker) for “Three Ways” (2004).  Keigwin has the astute theatrical sense.

As its title suggests, “Runaway” (2008) skillfully reconstructs a runway show.  Against an urban brick backdrop, the women, clad in highlighter-color sleeveless dresses, and the men, in thin ties and suits, walk barefoot along a grid pattern.  All the dancers eventually leave and, by the time they return to the stage, have taken off articles of clothing and the mannequin-like women are carried off in the arms of men.

Keigwin + Company don’t take themselves seriously enough to demand that the audience have profound insight into their work in order to enjoy it.  Understanding the underlying social commentary is an extra plus because ultimately, the company’s dances are fun and entertaining.  Deviating from this trend is “Bird Watching,” making its world premiere, its subsections all titled with F-words: Flocking, Flapping, Fluttering, and Flying.  Set in a sort of ballroom with a chandelier hanging above, the dance centers on upper-crust birds dressed in glittering black tutus.  But “Bird Watching,” in trying to draw a comparison between humans and birds, lacks the distinct theatrical quality present in the other pieces.

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Hilary Clark, Matthew Rogers, Daniel Clifton, Heather Olson, and Erin Gerken in Tere O'Connor's "Wrought Iron Fog."

Surrounded on all sides by thick, ripped pieces of fabric, five dancers move as mysterious silhouettes in silent darkness.  As the lights turn on, Hilary Clark, Daniel Clifton, Erin Gerken, Heather Olson, and Matthew Rogers begin to move with the sharp movements which would suck the audience into the long lost world of dreams which is Tere O’Connor’s Wrought Iron Fog.

In a world of blues, purples, and soft, roaming lights of the Dance Theater Workshop stage, O’Conner explores the common theme of his works:  relationships.  By planning his choreography so that the dancers hint to one another what particular dance sequence will occur (O’Conner created about two hours of dance, only half of which would be performed during a performance), the dancers form a dependent relationship.  Without the others, a single dancer would be at a loss.

The dancers twirl and leap to the sound of clanking metal and text from Samuel Beckett’s How It Is, the words, “There, then, more or less, more, less, less, less,” resonating through the air. While some may find the industrial sound “stale,” or perhaps “abrasive,” the soundtrack only seems to enhance the sometimes flowing, other times jointy or aggressive gestures.  It only adds to the dreamlike quality of the world the dancers pull us into, where anything could happen: the dancers may form a square and dance around one another; they may dance as couples, throw one another around, or tackle one another to the ground.  The dancers may leave the floor altogether, but not once are we torn from the fantasy world the dancers have weaved around us. They return, and it’s as if they never left.

At one point, the dancers approach the audience, staring up at us as if wondering, “Are you still there?”  The answer?  Yes, of course.  Why would we leave?

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‘Cause this is thrilla — thrilla night!  The death of an icon can produce unprecedented shockwaves, ones that reveal the magnitude of the loss.  As the lights dim, Michael Jackson’s voice of the pre-show music slowly fades and one witnesses a true invigoration of the style he created.  Enter Nicholas Leichter Dance.

Nicholas Leichter Dance company’s Free the Angels, opens the night, a light but symbolic show of true yogic skill combined with a flow that only natural dancers can maintain. From the slow beat of a light tune to the exhilarating pace of snappy jazz, this polished but (a little) short piece provides a glimpse of the intensity to come.

Business suits, aviators, cargos and some Nike Air Forces mesh together to create a parody of reality that makes up the explosive second act, Killa. The cast comes on stage, twisting and turning taking up every nook and cranny of the famous platform. Each body writhed and curved, with the definitive edge that kept the dance alive. The duo performance by Monstah Black and Dawn Robinson left something to be desired for, but Black’s elegance, bordering on the ridiculousness, makes up for it. The lights dance along with him, and his booming voice turns this dance into a mini-rock concert for a minute. Quite honestly, it becomes easy to get caught up in the confusion, marked by the sudden shift in tone, but that’s what makes it all the more enjoyable.

The ending routines go out with nothing short of a bang, as the entire cast comes out to do their own thing, a spark of individuality every performance should include. Leichter himself makes another quick appearance, silently paying tribute to the king of pop. All in all, the ludicrous styling of Monstah Black, and the intensity of the company create an experience that can truly be called a thriller.

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