Hello,
Today's artist is one of his home country's most enduring national heroes. Though he is most treasured in Argentina, where his outspoken social consciousness and storied past as a fearless protest singer endeared him deeply to those who share his heritage, his appeal extends beyond his homeland: he performs to international audiences regularly and is often described in shorthand as "the Bob Dylan of Argentina." ..N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Leon Gieco was born on November 20, 1951 in Santa Fe Province, Argentina. At 6 years old, Gieco traveled with his family from the field to the village center due to economic problems. At age 8, Gieco bought his first guitar on credit, and soon began playing music at local events with his father's band. Throughout his childhood, Gieco played with local bands such as a folkloric group called Los Nocheros (The Night Watchers) and Los Moscos (The Flies), a rock band that gained some popularity within Argentina. In 1965, Gieco traveled to Bolivia as an exchange student. He studied music and played guitar at local festivities.
When Gieco turned 18, he went to Buenos Aires to become a full-time musician. There, he took guitar lessons from Gustavo Santaolalla, who introduced him to important people in the Buenos Aires musical community, such as Raúl Porchetto, Charly García, Nito Mestre, and María Rosa Yorio, members of the Argentine supergroup, Porsuigieco. Gieco was given the opportunity to perform in the Buenos Aires Rock Festival in 1971, 1972, and 1973. In 1973, he recorded his first album, "Leon Gieco" ( it was recorded independently with Santaolalla). "En el País de la Libertad" ("In the Country of Freedom"), a hit from his album, demonstrated Gieco's concern for change in Argentina, his concern for social justice.
In 1976 Gieco released El Fantasma de Canterville ("The Ghost of Canterville"). The record suffered a great deal of censorship from the military government forcing him to change the lyrics of 6 songs and remove 3 others altogether. Nevertheless, the record was a success, and he had concerts not only around Argentina, but also in other countries of South America. Two years later he released IV LP, with one of his most famous songs: "Sólo le pido a Dios" ("I only ask of God"). Due to the political situation in Argentina, Gieco moved to Los Angeles, California in 1978 for one year.
On December 20, 1979, the Argentine Minister of Education announced the closing of the National University of Lujan in Buenos Aires. Gieco participated in a protest against the closing by singing "La Cultura es la Sonrisa". His lyrics say, "(Culture) only cries in a country where people can't choose it/it only cries its sadness if a minister closes a school..."
In 1981 Gieco started a 3-year, 110,000-kilometre-long series of independent concerts all over Argentina, playing for a total of 420,000 people. He gathered material from the different places he visited during the tour, and recorded the first volume of De Ushuaia a La Quiaca ("From Ushuaia to La Quiaca" in Buenos Aires with various autochthonous musicians in 1985. The following De Ushuaia a La Quiaca 2 and De Ushuaia a La Quiaca 3 were recorded in a mobile studio in different locations of the country.
In 1985, Gieco went to Moscow for the 12th "World Youth and Students' Festival" alongside Juan Carlos Baglietto and Litto Nebbia, representing Argentina. In 1986 and 1987, he held concerts in Germany with his friend Mercedes Sosa, including that of Berlin's Political Song Festival.
Gieco returned to Argentina and performed free concerts, one for 40,000 spectators at the National Flag Memorial in Rosario, and the other for 35,000 people in Buenos Aires. At Boca Juniors' Stadium he had a concert with Pablo Milanés and Chico Buarque, and guest musicians Mercedes Sosa, Fito Páez, Nito Mestre, Juan Carlos Baglietto and Sixto Palavecino. At the end of the year he went on a world tour that included countries such as Mexico, Peru, Brasil, Sweden, Germany and Denmark.
In 1988, Gieco performed in Germany and Austria. Back in Argentina he participated in the final concert of the Amnesty International Human Rights Now! Tour at River Plate Stadium, with Charly García, Peter Gabriel, Bruce Springsteen, Sting, and others.
After eight years of touring, Semillas del corazón ("Seeds of the heart") marked his return to the studio in 1989. That same year he performed at the Teatro Ópera in Buenos Aires with United States folk legend Pete Seeger. The following year, Seeger asked him to join a tour that took him to Washington, D.C., Boston and New York City. There he played with David Byrne, whom he had met in Buenos Aires shortly before.
In 1992, he played with Milton Nascimento, Mercedes Sosa, Os Paralamas do Sucesso, Gilberto Gil and Rubén Rada at the inauguration of the Latin American Parliament in São Paulo. In 1997 he participated in the memorial concert for the Mothers of the Plaza de Mayo, with bands such as Divididos, La Renga, Los Piojos, and Attaque 77.
Gieco began his most recent national tour for social justice, Mundo Alas, in 2007. Argentine musicians, dancers, singers, and painters, all with disabilities, performed alongside Gieco, expressing their unique talents and communicating with audiences. He gave these artists the opportunity to live out their dreams as he does. Gieco created a documentary from the road tour which was produced in March, 2009. The film features rock music, folk music, and tango, along with Gieco's original hits.
During his stop in Buenos Aires on his 2013 Wrecking Ball World Tour, Bruce Springsteen filmed a video for a solo acoustic performance of "Sólo le Pido a Dios".
xxxxx xxxxx xxxxx xxxxx xxxxx
PorSuiGieco y su Banda de Avestruces Domadas, also known as Porsuigieco/PorSuiGieco, was a Folk-rock "super-band" by Charly García, Nito Mestre (from Sui Generis), Leon Gieco, Raul Porchetto and Maria Rosa Yorio (Garcia's wife). The band was active only in 1975. The only album that they released was Porsuigieco. In the first edition of the LP, the song "Antes de Gira" was substituted for a censured song: "El fantasma de Canterville". But, in 1993, the album was released with "El fantasma de Canterville" as bonus track. The album was recorded in only two weeks. They performed live only two times. After 1976, the band was dissolved. In 1978 they briefly reunited to play at a festival in Buenos Aires.
PorSuiGieco - PorSuiGieco (flac 225mb)
01 La Mamá De Jimmy 3:35
02 Fusia 3:28
03 Viejo, Solo Y Borracho 3:26
04 Burbujas Musicales 0:28
05 Tu Alma Te Mira Hoy 5:06
06 Las Puertas De Acuario 4:23
07 Quiero Ver, Quiero Ser, Quiero Entrar 4:56
08 Mujer Del Bosque 3:26
09 Todos Los Caballos Blancos 4:02
10 Antes De Gira 4:30
11 La Colina De La Vida 5:35
Bonus
12 El Fantasma De Canterville 4:03
PorSuiGieco - PorSuiGieco (ogg 107mb)
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In 1981 Gieco started a Never Ending Tour all over Argentina, collecting material from the different places he visited during the tour. Following the tour, he recorded this first volume of De Ushuaia a La Quiaca various local musicians in 1985. Two other volumes were recorded in different locations of the country.
From Ushuaia to La Quiaca is the sixth studio album by Argentine singer-songwriter Leon Gieco, in collaboration with musician and producer Gustavo Santaolalla. It includes three albums, recorded in the places of origin of the artists who participated in this work. The first volume was released in 1985, volumes two and three were released in 1986,1 and in 1999 a fourth volume was released, with songs that had remained unpublished.2 From Ushuaia to La Quiaca is a project that does not register antecedents in The history of Argentine music. In total there were 450 concerts touring each Argentine province which gave fruit to this cultural legacy. Poets, teachers, students, musicians, and the earth itself, together in a fascinating listening film. In 2000, the work was published on CD along with the fourth volume and in 2005 an anniversary edition remastered with multimedia material of the original work was published. In addition to the four volumes, a book with the same name was written, written by Leon Gieco and Gustavo Santaolalla with Claudio Kleiman, and illustrated with more than one hundred photographs of that historic tour taken by Alejandra Palacios.
The project Ushuaia a la Quiaca consisted of going to the places where the music itself is born and recorded in its natural environment and not take the musicians to a recording studio in a large city where they would lose some of the feeling that gives the place of origin. To do this he traveled with a mobile studio recording 16 channels, inside a van (closed van) had the "recording booth" that was used by engineer Gustavo Gauvry to monitor what was being recorded. Most places did not have access to electricity, so a portable electric generator was used and put it more than 200 meters so that the noise was not recorded. When it was recorded in the Argentine south there was an occasion when the cold was so intense that the microphones tended to freeze and had to give them heat so that they worked correctly. Also took about 2000 photographs and recorded more than 50 hours of video recording the most glorious moments of the tour. There were many musicians from all over the country, including Sixto Palavecino, Leda Valladares, Germánima Sequeida and Isabel Parra (on the border with Chile).
Leon Gieco with Leda Valladares recorded in the cemetery of Maimará, in the ruins of the Quilmes Indians and in the amphitheater of the Cadillal in Tucumán. Leda collected a pile of bagualas, some more than 400 years old that have been passed down from generation to generation. Also, in an adobe house of Amaicha, it recorded the great bagualera of the Argentine north Gerónima Sequeida. Collective singing in the Natural Stone Amphitheater in the Calchaquíes Valleys. A group of 1500 Tucuman boys gathered to sing bagualas and vidalas. The recording was performed with a holophonic system that is most similar to the human ear, capturing sounds at a 360 degree angle giving the feeling of natural spatiality. León Gieco and Isabel Parra recorded on the banks of the Beagle Channel in front of the Chilean border, on the banks of the Pipo River and Tierra del Fuego Ushuaia.
"... and no more noise at the border
The direction and musical production was in charge of Gustavo Santaolalla. He also participated as a musician, playing guitars, charango, percussion and voices. Gustavo believed firmly in the project, at all times was the engine and the helm of the boat. It was perhaps the first that integrated the MIDI technology to the traditional music. On many occasions, music, dance, crafts, and many other forms of cultural expression were mixed to give full form to Argentine folklore. The idea was to integrate with all types of artists, and that they themselves determine the cultural boundary of this project. The result, a true masterpiece
Leon Gieco - De Ushuaia a la Quiaca 1 (flac 259mb)
01 Esos Ojos Negros 3:36
02 Don Sixto Palavecino 4:24
03 Por El Camino Perdido 3:48
04 Principe Azul 4:08
05 Para Pete 2:57
06 Cola de Amor 4:06
07 Camino de Llamas 2:49
08 Carito 3:54
09 No Existe Fuerza En El Mundo 3:40
10 Yo Vendo Unos Ojos Negros 4:25
Leon Gieco - De Ushuaia a la Quiaca 1 (ogg 126mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The project "De Ushuaia a la Quiaca" consisted of going to the places where the music itself is born and recording it in its natural environment and not taking the musicians to a recording studio in a large city where they would lose some of the feeling that gives the place originally. To do this he traveled with a mobile studio recording 16 channels, inside a combi (closed van) had the "recording booth" that served the engineer Gustavo Gauvry to monitor what was being recorded. Most places did not have access to electricity so a portable electric generator was used and put it more than 200 meters so that the noise was not recorded. When it was recorded in the Argentine south there was an occasion when the cold was so great that the microphones tended to freeze and they had to give them heat so that they worked correctly.
Particularly this album seems to be "The Bible" of the Argentine Music, In His Tour by the Provinces was Collecting All the music of the Place where He Passed, Chacarera, Vidala, Cueca, Chamame, Collective Song and All that will Cross in his Step ... A Must Do That Everyone Should Listen.
Leon Gieco - De Ushuaia a la Quiaca 2 (flac 259mb)
01 Chacareros De Dragones
02 En La Frontera
03 Vidala Del Monte
04 Chacarera Del Violín
05 Kilómetro 11
06 Canto En La Rama
07 Ay Naranjal
08 Dimensión De Amistad
09 No Sé Que Tienen Mis Penas
10 Indiecito Latino
11 Grillito Del Pueblo
12 Agüita De Putiña
13 Del Brazo Con La Suerte
14 Maturana
Leon Gieco - De Ushuaia a la Quiaca 2 (ogg 87mb)
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Leon Gieco - De Ushuaia a la Quiaca 3 (flac 252mb)
1 Canto Del Tero
2 Amigos Tengo Por Cientos
3 La Gritona
4 Sobre Las Flores
5 El Cardón
6 Las Hojas Tienen Mudanza
7 Me Voy Quedando
8 Dale Soga Nomás
9 La Calandria
10 Baguala Centrífuga
11 Los Pueblos Americanos
12 Pai Julian
13 Baguala Para Mi Muerte
Leon Gieco - De Ushuaia a la Quiaca 3 (ogg 94mb)
–
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Today's artist is one of his home country's most enduring national heroes. Though he is most treasured in Argentina, where his outspoken social consciousness and storied past as a fearless protest singer endeared him deeply to those who share his heritage, his appeal extends beyond his homeland: he performs to international audiences regularly and is often described in shorthand as "the Bob Dylan of Argentina." ..N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Leon Gieco was born on November 20, 1951 in Santa Fe Province, Argentina. At 6 years old, Gieco traveled with his family from the field to the village center due to economic problems. At age 8, Gieco bought his first guitar on credit, and soon began playing music at local events with his father's band. Throughout his childhood, Gieco played with local bands such as a folkloric group called Los Nocheros (The Night Watchers) and Los Moscos (The Flies), a rock band that gained some popularity within Argentina. In 1965, Gieco traveled to Bolivia as an exchange student. He studied music and played guitar at local festivities.
When Gieco turned 18, he went to Buenos Aires to become a full-time musician. There, he took guitar lessons from Gustavo Santaolalla, who introduced him to important people in the Buenos Aires musical community, such as Raúl Porchetto, Charly García, Nito Mestre, and María Rosa Yorio, members of the Argentine supergroup, Porsuigieco. Gieco was given the opportunity to perform in the Buenos Aires Rock Festival in 1971, 1972, and 1973. In 1973, he recorded his first album, "Leon Gieco" ( it was recorded independently with Santaolalla). "En el País de la Libertad" ("In the Country of Freedom"), a hit from his album, demonstrated Gieco's concern for change in Argentina, his concern for social justice.
In 1976 Gieco released El Fantasma de Canterville ("The Ghost of Canterville"). The record suffered a great deal of censorship from the military government forcing him to change the lyrics of 6 songs and remove 3 others altogether. Nevertheless, the record was a success, and he had concerts not only around Argentina, but also in other countries of South America. Two years later he released IV LP, with one of his most famous songs: "Sólo le pido a Dios" ("I only ask of God"). Due to the political situation in Argentina, Gieco moved to Los Angeles, California in 1978 for one year.
On December 20, 1979, the Argentine Minister of Education announced the closing of the National University of Lujan in Buenos Aires. Gieco participated in a protest against the closing by singing "La Cultura es la Sonrisa". His lyrics say, "(Culture) only cries in a country where people can't choose it/it only cries its sadness if a minister closes a school..."
In 1981 Gieco started a 3-year, 110,000-kilometre-long series of independent concerts all over Argentina, playing for a total of 420,000 people. He gathered material from the different places he visited during the tour, and recorded the first volume of De Ushuaia a La Quiaca ("From Ushuaia to La Quiaca" in Buenos Aires with various autochthonous musicians in 1985. The following De Ushuaia a La Quiaca 2 and De Ushuaia a La Quiaca 3 were recorded in a mobile studio in different locations of the country.
In 1985, Gieco went to Moscow for the 12th "World Youth and Students' Festival" alongside Juan Carlos Baglietto and Litto Nebbia, representing Argentina. In 1986 and 1987, he held concerts in Germany with his friend Mercedes Sosa, including that of Berlin's Political Song Festival.
Gieco returned to Argentina and performed free concerts, one for 40,000 spectators at the National Flag Memorial in Rosario, and the other for 35,000 people in Buenos Aires. At Boca Juniors' Stadium he had a concert with Pablo Milanés and Chico Buarque, and guest musicians Mercedes Sosa, Fito Páez, Nito Mestre, Juan Carlos Baglietto and Sixto Palavecino. At the end of the year he went on a world tour that included countries such as Mexico, Peru, Brasil, Sweden, Germany and Denmark.
In 1988, Gieco performed in Germany and Austria. Back in Argentina he participated in the final concert of the Amnesty International Human Rights Now! Tour at River Plate Stadium, with Charly García, Peter Gabriel, Bruce Springsteen, Sting, and others.
After eight years of touring, Semillas del corazón ("Seeds of the heart") marked his return to the studio in 1989. That same year he performed at the Teatro Ópera in Buenos Aires with United States folk legend Pete Seeger. The following year, Seeger asked him to join a tour that took him to Washington, D.C., Boston and New York City. There he played with David Byrne, whom he had met in Buenos Aires shortly before.
In 1992, he played with Milton Nascimento, Mercedes Sosa, Os Paralamas do Sucesso, Gilberto Gil and Rubén Rada at the inauguration of the Latin American Parliament in São Paulo. In 1997 he participated in the memorial concert for the Mothers of the Plaza de Mayo, with bands such as Divididos, La Renga, Los Piojos, and Attaque 77.
Gieco began his most recent national tour for social justice, Mundo Alas, in 2007. Argentine musicians, dancers, singers, and painters, all with disabilities, performed alongside Gieco, expressing their unique talents and communicating with audiences. He gave these artists the opportunity to live out their dreams as he does. Gieco created a documentary from the road tour which was produced in March, 2009. The film features rock music, folk music, and tango, along with Gieco's original hits.
During his stop in Buenos Aires on his 2013 Wrecking Ball World Tour, Bruce Springsteen filmed a video for a solo acoustic performance of "Sólo le Pido a Dios".
xxxxx xxxxx xxxxx xxxxx xxxxx
PorSuiGieco y su Banda de Avestruces Domadas, also known as Porsuigieco/PorSuiGieco, was a Folk-rock "super-band" by Charly García, Nito Mestre (from Sui Generis), Leon Gieco, Raul Porchetto and Maria Rosa Yorio (Garcia's wife). The band was active only in 1975. The only album that they released was Porsuigieco. In the first edition of the LP, the song "Antes de Gira" was substituted for a censured song: "El fantasma de Canterville". But, in 1993, the album was released with "El fantasma de Canterville" as bonus track. The album was recorded in only two weeks. They performed live only two times. After 1976, the band was dissolved. In 1978 they briefly reunited to play at a festival in Buenos Aires.
PorSuiGieco - PorSuiGieco (flac 225mb)
01 La Mamá De Jimmy 3:35
02 Fusia 3:28
03 Viejo, Solo Y Borracho 3:26
04 Burbujas Musicales 0:28
05 Tu Alma Te Mira Hoy 5:06
06 Las Puertas De Acuario 4:23
07 Quiero Ver, Quiero Ser, Quiero Entrar 4:56
08 Mujer Del Bosque 3:26
09 Todos Los Caballos Blancos 4:02
10 Antes De Gira 4:30
11 La Colina De La Vida 5:35
Bonus
12 El Fantasma De Canterville 4:03
PorSuiGieco - PorSuiGieco (ogg 107mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
In 1981 Gieco started a Never Ending Tour all over Argentina, collecting material from the different places he visited during the tour. Following the tour, he recorded this first volume of De Ushuaia a La Quiaca various local musicians in 1985. Two other volumes were recorded in different locations of the country.
From Ushuaia to La Quiaca is the sixth studio album by Argentine singer-songwriter Leon Gieco, in collaboration with musician and producer Gustavo Santaolalla. It includes three albums, recorded in the places of origin of the artists who participated in this work. The first volume was released in 1985, volumes two and three were released in 1986,1 and in 1999 a fourth volume was released, with songs that had remained unpublished.2 From Ushuaia to La Quiaca is a project that does not register antecedents in The history of Argentine music. In total there were 450 concerts touring each Argentine province which gave fruit to this cultural legacy. Poets, teachers, students, musicians, and the earth itself, together in a fascinating listening film. In 2000, the work was published on CD along with the fourth volume and in 2005 an anniversary edition remastered with multimedia material of the original work was published. In addition to the four volumes, a book with the same name was written, written by Leon Gieco and Gustavo Santaolalla with Claudio Kleiman, and illustrated with more than one hundred photographs of that historic tour taken by Alejandra Palacios.
The project Ushuaia a la Quiaca consisted of going to the places where the music itself is born and recorded in its natural environment and not take the musicians to a recording studio in a large city where they would lose some of the feeling that gives the place of origin. To do this he traveled with a mobile studio recording 16 channels, inside a van (closed van) had the "recording booth" that was used by engineer Gustavo Gauvry to monitor what was being recorded. Most places did not have access to electricity, so a portable electric generator was used and put it more than 200 meters so that the noise was not recorded. When it was recorded in the Argentine south there was an occasion when the cold was so intense that the microphones tended to freeze and had to give them heat so that they worked correctly. Also took about 2000 photographs and recorded more than 50 hours of video recording the most glorious moments of the tour. There were many musicians from all over the country, including Sixto Palavecino, Leda Valladares, Germánima Sequeida and Isabel Parra (on the border with Chile).
Leon Gieco with Leda Valladares recorded in the cemetery of Maimará, in the ruins of the Quilmes Indians and in the amphitheater of the Cadillal in Tucumán. Leda collected a pile of bagualas, some more than 400 years old that have been passed down from generation to generation. Also, in an adobe house of Amaicha, it recorded the great bagualera of the Argentine north Gerónima Sequeida. Collective singing in the Natural Stone Amphitheater in the Calchaquíes Valleys. A group of 1500 Tucuman boys gathered to sing bagualas and vidalas. The recording was performed with a holophonic system that is most similar to the human ear, capturing sounds at a 360 degree angle giving the feeling of natural spatiality. León Gieco and Isabel Parra recorded on the banks of the Beagle Channel in front of the Chilean border, on the banks of the Pipo River and Tierra del Fuego Ushuaia.
"... and no more noise at the border
The direction and musical production was in charge of Gustavo Santaolalla. He also participated as a musician, playing guitars, charango, percussion and voices. Gustavo believed firmly in the project, at all times was the engine and the helm of the boat. It was perhaps the first that integrated the MIDI technology to the traditional music. On many occasions, music, dance, crafts, and many other forms of cultural expression were mixed to give full form to Argentine folklore. The idea was to integrate with all types of artists, and that they themselves determine the cultural boundary of this project. The result, a true masterpiece
Leon Gieco - De Ushuaia a la Quiaca 1 (flac 259mb)
01 Esos Ojos Negros 3:36
02 Don Sixto Palavecino 4:24
03 Por El Camino Perdido 3:48
04 Principe Azul 4:08
05 Para Pete 2:57
06 Cola de Amor 4:06
07 Camino de Llamas 2:49
08 Carito 3:54
09 No Existe Fuerza En El Mundo 3:40
10 Yo Vendo Unos Ojos Negros 4:25
Leon Gieco - De Ushuaia a la Quiaca 1 (ogg 126mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The project "De Ushuaia a la Quiaca" consisted of going to the places where the music itself is born and recording it in its natural environment and not taking the musicians to a recording studio in a large city where they would lose some of the feeling that gives the place originally. To do this he traveled with a mobile studio recording 16 channels, inside a combi (closed van) had the "recording booth" that served the engineer Gustavo Gauvry to monitor what was being recorded. Most places did not have access to electricity so a portable electric generator was used and put it more than 200 meters so that the noise was not recorded. When it was recorded in the Argentine south there was an occasion when the cold was so great that the microphones tended to freeze and they had to give them heat so that they worked correctly.
Particularly this album seems to be "The Bible" of the Argentine Music, In His Tour by the Provinces was Collecting All the music of the Place where He Passed, Chacarera, Vidala, Cueca, Chamame, Collective Song and All that will Cross in his Step ... A Must Do That Everyone Should Listen.
Leon Gieco - De Ushuaia a la Quiaca 2 (flac 259mb)
01 Chacareros De Dragones
02 En La Frontera
03 Vidala Del Monte
04 Chacarera Del Violín
05 Kilómetro 11
06 Canto En La Rama
07 Ay Naranjal
08 Dimensión De Amistad
09 No Sé Que Tienen Mis Penas
10 Indiecito Latino
11 Grillito Del Pueblo
12 Agüita De Putiña
13 Del Brazo Con La Suerte
14 Maturana
Leon Gieco - De Ushuaia a la Quiaca 2 (ogg 87mb)
xxxxx
Leon Gieco - De Ushuaia a la Quiaca 3 (flac 252mb)
1 Canto Del Tero
2 Amigos Tengo Por Cientos
3 La Gritona
4 Sobre Las Flores
5 El Cardón
6 Las Hojas Tienen Mudanza
7 Me Voy Quedando
8 Dale Soga Nomás
9 La Calandria
10 Baguala Centrífuga
11 Los Pueblos Americanos
12 Pai Julian
13 Baguala Para Mi Muerte
Leon Gieco - De Ushuaia a la Quiaca 3 (ogg 94mb)
–
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