Want List: That Mooted Vicious Pink [Phenomena] Collection Coming Soon To Disrupt Your Collection

vicious pink monktone
Vicious Pink [Phenomena]: Brian Moss + Josephine Warden

It feels like a couple of years ago when were were discussing that perfect Vicious Pink Phenomenon collection, and in the comments, our friend slur mentioned that the delightful Minimal Wave label was teasing a new 2xLP from the synthetic duo. But it was only scant months ago and that time to reveal all has already come up to bite my ankles. It looks like we’ll have a hefty chunk of material on our doorsteps as of next February 14th, of 2022. A more perfect Valentine’s Day present I can’t imagine. What will it entail?

vicious pink west view 81-86 cover art
Minimal Wave | US | 2XLP | 2022 | MW078

Vicious Pink: West View 81-86 – US – 2xLP [2022]

  1. Cccan’t You See
  2. My Private Tokyo 12″
  3. Promises
  4. 8:15 To Nowhere
  5. Why Me
  6. My Man + Me
  7. Baby it’s Too Late
  8. Blue [A World Of Blue]
  9. Why Me [demo]
  10. 8:15 to Nowhere [demo]
  11. Fetish [demo]
  12. In The Swim [demo]
  13. Ask Me To Stay 12″
  14. Face Hugger [21st Century 80s]
  15. Eyes That Smile

All of the titles in bold are previously unreleased commercially. That’s a lot to love. Notice that a few known Vicious Pink Phenomena [Polydor] tracks are mixed in with Vicious Pink [EMI] tracks. I love it. We all know it was the same band even if lawyers would not recognize that fact. “Blue [Love Mix]” was on the Canadian 1986 LP and the Cherry Red CD, but I’ll bet that the version here will be a different mix.

vicious pink west view pink vinylThe details of the LP are very nice. We get lots of “new” material for our ears on an LP of 999 pressings. Half of them are 160g pink as shown, with the rest in black. The glossy heavyweight sleeve has a 12 page booklet with the full story behind the band and lyrics and photos. I’m glad they haven’t fallen for the 180g syndrome. Orders made through the Minimal Wave webstore get a 5″ x 7″ postcard with an unpublished image as bait. But the best bait of all for me is the appearance of unheard Vicious Pink material decades later [there was never enough] and the price for which this unit is selling. A sensible $28.00 for the package and it helps me immeasurably as Minimal Wave is an American boutique label so I won’t have to lose a kidney for postage costs.

The Minimal Wave webstore currently has lovely preview samples of the entire album and let me assure you that the quality of the unheard material is equal to everything you [hopefully] have in your already extant Vicious Pink collections in your own private Record Cells.”Baby It’s Too Late” is an electro wonder of potent vitality. We may be getting new band favorites with this album. And the demo versions are hardly perfunctory.

“Fetish” has always been a juggernaut to my ears, but the demo pulls back from the massive 12″ we know and love to reveal a lean, minimal tech version that ends up sounding like a lost track from “Metamatic.” Wow! I want to order this right now. But I’m trying to cut back from music buying. But I really need to save my shekels and pre-order this soon. I’ll be kicking myself when the LP is $80 in the aftermarket in short order. This project is so fascinating and desirable that I’m not even going to complain that there’s no CD in these, the end times. I basically I will need to use this along with my collection [and those few discs which I still need to buy] to make my own Vicious Pink BSOG [boxed set of god] one day in my dotage. Hit that button. You know you can’t resist.

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Want List: New Molly Nilsson Album Coming For Our “Extreme” Times

molly nilsson animation
Molly is still not ready to commit to full color – photo ©2021 Graw Böckler

It seems like my first encounter with Molly Nilsson was 20 years ago instead of merely a decade. So much water has passed underneath that bridge! Has it really been almost three years since I last saw her? Touring behind her then new “Twenty-Twenty” album that reflected an optimism that was borne out in one way [leader of America] but was premature in another [pandemic]. Yesterday the mailing list got the news that her pandemic-gestating album is coming in January 15, 2022 and it will be a little different.

While she’s been plowing a DIY synthpop furrow since 2008, she can’t help from growing out of that genre as she travels the world singing her thoughtful songs that straddle introspection and anthemic joy. Her last album, 2018’s “Twenty-Twenty,” clearly showed the bedsit days were being left behind for something larger. And now she’s using distorted guitars to underpin her ongoing war against Power.

It’s me,

vs. the Black hole at the centre of the Galaxy

Who we are vs. Who we’d like to be

Get ready for the Fight of the Century

Come on and get excited

Everyone’s invited

It gets closer by the hour

Here we go,

Absolute Power

“Absolute Power”

Sign me up. I have four of her albums [including #466 – with fingerprint of “History”] but need the rest of them. She is clearly one of the modern acts that strongly resonates with me. The album cover is another of her minimal black + white designs that probably used to be down to her reproducing her CD-Rs on the road at copy shops but has now become her aesthetic.

Molly Nilsson extreme cover art
Night School | EURO | CD/LP |2022

Molly Nilsson: Extreme – EURO – CD [2022]

A caveat. “Extreme” will be digitally ready on January 15th. If you want a physical copy, the LP/CD will be a little later on the 28th. Let’s keep our fingers crossed for the sticky LP production bubble which is making everything later and later these days. The titles are not listed yet but the video for “Absolute Power” is out there if you look for it. The LP will be available from her Euro label, Night School Records or the artist’s webstore in a translucent blue vinyl edition of 500 with a poster. €20.00 on the antique format and €10.00 for the silver disc. Ms. Nilsson is only selling the LP on her webstore so we’ll spit the options to pre-order. Night School Records also says that there will be a “Dinked edition” on LP for retail stores only… whatever that means! I would like to think that I might get to see her a fourth time in my sleepy hamlet after this… mess… is behind us. America looks forward to more of the hopeful art of Ms. Nilsson.

PRE-ORDER CD

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PRE-ORDER BLUE LP

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Want List: Ultravox “Three-Into-One” Gets The Rubellan Remasters Analog Love

ultravox - rubellan remasters three-into-one LP colored vinyl
Rubellan Remasters | US | LP | 2021 | Ruby24LP

I’ve known about this for many months and today is the day when pre-order begins. We’ve seen the growth and accomplishments of Rubellan Remasters over the last few years with passion projects making it to the CD format. The label is the closest thing to exactly what I would be doing if I had a bigger streak of masochism. It’s hard enough for me to collect the vinyl and CDs I want in order to use them making the CDs that no one else will sell to me, but at least I don’t have to deal with the pain [and cost] of licensing masters from labels. So it’s all to our benefit that Scott of Rubellan fights the good fight for all of us.

Lately Rubellan Remasters has been going with the flow and he’s released expanded CDs as well as color vinyl LPs of four Oingo Boingo albums to brisk sales. Particularly on the antique format. Rubellan Remasters is now making inroads to releasing compilations like the “Essential Divinyls” album that had never been on LP. On their latest project, attention has been turned to a primary Monastic focus. The band that’s the bedrock of my Record Cell; Ultravox!

ultravox three-into-one blue/white LP
blue + white

!I already have three editions of of the 1980 compilation that Island Records issued to cash in on Ultravox! when they got signed to Chrysalis and began their upward climb. I have the original UK Island pressing as well as the US version on the Antilles sub-label. Then in 1993, I bought my first ever CD of John Foxx period Ultravox! when “Three-Into-One” made the leap to the sliver disc; substituting the LP version of “Quiet Men” for the 12″ mix [full version] that the original UK LP sported. I thought I was done with this album, but Rubellan Remasters is here to tempt me today with a record I really don’t need, but surely want.

ultravox three-into-one green/black LP
the classic green + black look

Ultavox: Three Into One – US – LP [green/black, blue + white] [2021]

  1. Young Savage
  2. ROckWrok
  3. Dangerous Rhythm
  4. The Man Who Dies Every Day
  5. The Wild, The Beautiful, And The Damned
  6. Slow Motion
  7. Just For A Moment
  8. Quiet Men [full version]
  9. My Sex
  10. Hiroshima Mon Amour

The pre-sales for these colored vinyl editions of the “Three-Into-One” US LP [the first LP edition of the album since the 1988 Australian budget edition!] began today and there are 500 of each of the two color combinations as seen here. Each LP is $23.99 and there is a bundle option for “collectors” with both for $47.98. Due to gougers and flippers earlier on the Oingo Boingo editions, there is a limit of one copy in each color. I would not mind ordering the green + black one, in keeping with the cover design, but right now the money is not there. So I may just have to let the chips fall where they may and live with the results. The records are released on November 5th and the green + black is already down by about 18% of total. So caveat emptor and Mr. DJ Hit That Button [below].

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Want List: Bush Tetras Box Will Now Commemorate Dee Pop [1956-2021]

bush tetras rhythm + paranoia cover art
Wharf Cat Records | US | 2021

Just last week I was ecstatic to find out that I had a compilation from Mojo [bought from the local library] called “Death Disco” that was thick with Post-Punk tracks; many of which did not otherwise reside in the Record Cell. Without a doubt, the one cut on it that probably made me buy it four years ago was The Bush Tetras electric jolt of Post-Punk Funk “Too Many Creeps.” I’ve had a desire to have Bush Tetras music in my home now for 41 years. So this was a very pleasant re-discovery.

Then I stumbled upon the news on the Trouser Press Forum that in about a month, there will be a new Bush Tetras compilation from the magnificently named Wharf Cat Records called “Rhythm + Paranoia: The Best of Bush Tetras” that has my name all over it. This looks to make the “Boom In The Night” CD that ROIR released [ulp] 26 years ago look as long in tooth as it actually is. According to Discogs, “Boom In The Night” has been on my want list for eight years now. And is none too affordable. There is one US copy at $28.50.

bush tetras boom in the night cover art
ROIR | US | CD | 1995 | RUSCD 8218

Bush Tetras: Boom In The Night – US – CD [1995]

  1. Cowboys In Africa
  2. Things That Go Boom In The Night
  3. You Can’t Be Funky
  4. Snakes Crawl
  5. Rituals
  6. Moonlite
  7. You Taste Like The Tropics
  8. Das Ah Riot
  9. Too Many Creeps
  10. Dum Dum
  11. Stand Up And Fight
  12. Who’s Gonna Pay
  13. It’s So Weird
  14. Funky (Instrumental)
Bush Tetras Monktone
Bush Tetras 40 years ago: [rear, L-R] Pat Place, Cynthia Sley [front L-R] Dee Pop, Laura Kennedy

The taut “Too Many Creeps” was one of the songs that was plastered liberally in the playlists of WPRK-FM by the time I was listening heavily in the 1981 time period. This was bristling, urgent Post-Punk Funk/Disco that indicated the band were influenced by Gang Of Four, who had emerged in 1978 to those who were paying close attention. They definitely had the same spartan, angular, minimalist Funk vibe that threw the confrontational lyrics into sharp relief. I’d say that Bush Tetras had the advantage for being mostly female.

This gave them an edge that Gang of Four could only approach from their left wing academia roots. Meanwhile, the deadpan Cynthia Sley invested “Too Many Creeps” with a lived in contempt that suggested what she experienced as a woman every day that cut across all demarcations of class structure. It only helped that bassist Laura Kennedy was laying down a truly spectacular bass that dominated the track; leaving guitarist Pat Place room for her slashes of strident, angular guitar that acted like aural pepper spray. Meanwhile, drummer Dee Pop kept us all moving on the dance floor. This single could have only been released on 99 Records.

I just can’t pay the price of shoppin’ around, no more

Because there’s just nothin’ that’s worth the cost

‘Cause it’s the worst!

It’s The Worst! [7x]

Too Many Creeps

The new BSOG comes in both flavors: The expected 3xLP DLX BSOG and a 2xCD package for us granddads. Here’s the contents of each configuration. 30 tracks on 2xCD and 29 on the LP [with track 30 as a DL]. Both packages have a DL only bonus track in “Cutting Floor.”

bush tetras rhythm + paranoia boxed set of god
The LP is an orgy of packaging

Here are the tracks:

  1. Too Many Creeps
  2. Snakes Crawl
  3. You Taste Like the Tropics
  4. Punch Drunk
  5. Cold Turkey [Live in London]
  6. Things That Go Boom in the Night
  7. Das Ah Riot
  8. Cowboys in Africa
  9. Rituals
  10. You Can’t Be Funky
  11. Moonlite
  12. Dum Dum
  13. Stand Up and Fight
  14. Page 18
  15. Color Green
  16. Mr. Lovesong [Alternate Version]
  17. World
  18. Motörhead
  19. Pretty Thing
  20. You Don’t Know Me
  21. Heart Attack
  22. Ocean
  23. Nails
  24. True Blue
  25. Red Heavy
  26. Out Again
  27. There Is a Hum
  28. Seven Years
  29. Sucker Is Born
  30. Run Run Run [Live in San Francisco]
  31. Cutting Floor

LP Format

  • 3x 180g LPs
  • rigid lift-off box with lift ribbon
  • 46 page LP sized book with essays/photos
  • DL card with bonus track
bush tetras rhythm + paranoia CD cover art
the 2xCD gets the job done with minimal fuss

CD Format

  • 2xCDs
  • 4-panel digipak
  • 40 page booklet

DEE POP: 1956-2021

Dee Pop R.I.P.
Dimitri Papadopoulos or Dee Pop to you

The release is out on November 12th and on last Saturday night, the band had a launch event at Howl Arts in the Lower East Side of NYC. Quite terribly, that was the same day that  drummer Dee Pop died. Prompting the band to continue the event as his memorial. I totally get that. The drummer, born Dimitri Papadopoulos, had played with Bush Tetras since their formation in 1979 and was the band’s “archival” member. There’s one in every band. Without Dee’s inclinations, I doubt that the new collection would be as well appointed as it is. Pop also played with Michael Karoli, Richard Lloyd, The Gun Club, Jayne County among others, with a foot also in the NYC Jazz realm. He had also formed his own mega-eclectic combo the aptly named Radio I-Ching.

If you’re like me with only a track on a compilation to your name, then the new collection looks to be the thing to have. The side that you gravitate to may depend on price. The LP box is $98.98 and the 2xCD is $29.98 so I know my target. Pre-sales are at the Wharf Cat Records website but also at the band’s Bandcamp page which you can reach by hitting that button below. For our friends in the UK, don’t balk at shipping costs as Rough Trade Records will be carrying the box, and rightly so! And finally, our thoughts go out to Dimitri’s bandmates and family during this difficult time.

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Posted in Deadpan Women, obituary, Want List | Tagged , , , | 9 Comments

It’s Almost 20 Years Later – Time For An Icehouse Remix

Antipodeans sure have the right obsessions for this sort of work

I’d heard a bit recently on the Steve Hoffman Forum’s Icehouse thread about the new 12″ single by Antipodeans VS Icehouse where the Oz synthwave duo of Mark Vick and Danny Muller reworked the 1982 Icehouse classic, “Hey Little Girl.” But I am very preoccupied with a potential job upgrade on my end, and it remained until today when NickA sent me a note that I had the time to look into this phenomenon. Shall we?

Long Distance Recordings | OZ | 12″ | 2021 | LDR021

Antipodeans VS Icehouse: Hey Little Girl – OZ – translucent violet 12″ [2021]

  1. Hey Little Girl [extended mix] 7:09
  2. Hey Little Girl [radio mix] 4:11
  3. Hey Little Girl [Mark + Danny’s extended disco mix] 7:11
  4. Hey Little Girl [Mark + Danny’s disco mix] 4:46

Yow! Can we get more “Miami Vice” that that color palette? All hyper saturated to the max. There are two mixes in long/short form. The samples are on the home page of the band’s label and the brief clip doesn’t hurt. It’s a completely synthed out, sharp edged and very quantized rendition of the song with full Iva vocals. So none of those lame 90s remixes where a brief sample was manipulated over a trance mix. Thanks goodness. These guys seem to have a real affection for what they are doing, and in the instance that the original was mostly machines emulating a rock band, it’s not a radical overhaul in the conceptual sense.

Iva Davies of Icehouse these days

So far, it’s a little scarce finding anything but the limited edition 12″ for this release. And it’s really limited: Just 250 copies on 180g translucent violet vinyl with a glossy heavyweight sleeve. It’ll cost you a bit. AU$32.95 [plus shipping from the exact opposite side of the world – you do the math] and it went on sale two days ago. If you’ve got to have one of these, act now. After all, it’s been 17 years since the last Icehouse post-modern remix, “Street Cafe 2004” [are we glad the appending of the remix year trend has finally gone away?] and as long as the love is there with synth-casualties like Antipodeans, I think that the Icehouse legacy is in good hands.

UPDATE: I just checked on 10/10, and the single will be released digitally as a DL on October 27th in the usual places, so If you can’t nab the [admittedly gorgeous] 12″ then we can all get sated with the DL at a fraction of the cost and with no shipping from Oz.

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Roxy Music: The Missing Piece of Their Canon – “The High Road”

Roxy Music: The High Road – US – EP [1983]

Warner Bros. Records | US | EP | 1983 | 9 23808-1
  1. Can’t Let Go [live @ Glasgow Apollo] 5:29
  2. My Only Love [live @ Glasgow Apollo] 7:23
  3. Like A Hurricane [live @ Glasgow Apollo] 7:36
  4. Jealous Guy [live @ Glasgow Apollo] 6:10

Some years back when the Roxy Music “Complete Studio Recordings” box was released, its name belied its one failing. Namely that you would not be getting the “Viva!” album with it, but also that “The High Road” would remain on vinyl only. “The High Road” was released as a quick follow up to the “Avalon” tour as a $5.98 mid-price live stopgap EP as seen above. The recording was made in Scotland at the Glasgow Apollo Theater.

roxy music - the high road cover art
Pioneer Artists | US | LD | 1986 | 0E010852

Roxy Music: The High Road – US – LD [1986]

  1. The Main Thing [not on “Heart Still Beating”]
  2. Out Of The Blue
  3. Both Ends Burning
  4. Song For Europe
  5. Can’t Let Go
  6. While My Heart Is Still Beating
  7. Avalon
  8. My Only Love
  9. Dance Away
  10. Love Is A Drug
  11. Like A Hurricane
  12. Editions Of You
  13. Do The Strand [not on “Heart Still Beating”] 
  14. Jealous Guy

Confusingly, the program was also released the same year as a live home video with the same title and cover image, but with a show that was filmed in Frejus, France! The same four songs are included but in different performances. Then seven years later Roxy Music released a CD of the Frejus concert with a very different title and cover, and even some song substitutions. It was called “Heart Still Beating.”

roxy music heart still beating cover art
Reprise Records | US | CD | 1990 | 9-26402-2

Roxy Music: Heart Still Beating – US – CD [1990]

  1. India [not on “The High Road”] 
  2. Can’t Let Go
  3. While My Heart Is Still Beating
  4. Out Of The Blue
  5. Dance Away
  6. Impossible Guitar [not on “The High Road”]
  7. A Song For Europe
  8. Love Is The Drug
  9. Like A Hurricane
  10. My Only Love
  11. Both Ends Burning
  12. Avalon
  13. Editions Of You
  14. Jealous Guy

But that still doesn’t get us “The High Road” on the silver disc, does it? It looks like I will have to take matters into my own hands. Well, I’ve done it before. But a 28 minute CD is rather skimpy. It’s a good thing I have live Roxy Music radio show material that I can fill out the program with!

king biscuit flower hour - roxy music

I also have a “King Biscuit Flower Hour” radio show that is a triple-threat Monastically. Three sides live in America of Graham Parker, Roxy Music and Simple Minds. I’ve had the Simple Minds digitized for years. It’s past time to get the Roxy living in digital. The songs recorded were “Avalon,” “Dance Away,” and “Love Is The Drug.” The latter contractually obligated to appear on every Roxy Music live recording in America, seeing as how it was the closest thing they had to a hit here in this backwater hamlet of a country.

I have another live radio show that is not yet in the Discogs database [ed. note: it is now], so I know there’s at least a five song EP [on CD] that’s a BBC recording that I bought in the 90s. Possibly more. Must get to this sooner than later, but no free time for at least a month on this end! Watch this space.

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Posted in Core Collection, Remastering, Scots Rock | Tagged , , , | 7 Comments

Steel Cage Match: “Peek-A Boo” Battle

steel cage match devo vs siouxsie banshees

I was over at MyVinylDreams yesterday, and djjedready had posted a Siouxsie + The Banshees 12″ of “Peek-A-Boo” that I wanted to comment on and then it struck me: DEVO had a single with the same title! You don’t suppose…? Could it be overdue for another virtual smackdown in The Monk’s Squared Circle Of Pain®? It’s been two years since we had one here at PPM and Covid-19 or not, it’s time for some smack talk.

While there had been several songs titled “Peek-A Boo” for our purposes, we’ll consign ourselves to the New Wave/Post-Punk bands we’re all about. DEVO got there first in 1982 with the lead off single from their make-or-break fifth album, “Oh No! It’s DEVO!”

devo peek-a-boo cover art
Warner Brothers | US \ 12″ | 1982 | 0-29906,

While DEVO’s third album had yielded a hit with “Whip It,” their follow up, “New Traditionalists” had done donuts in the parking lot of album sales. The “DEVO-goes-Zoom” appeal of “Through Being Cool” failed to connect with the fickle teen market who had taken to “Whip it.” Big guns had been brought in. The album was produced by Hot Shot Producer® Roy Thomas Baker; maker of hits! But to these ears it sounded just like DEVO had since 1980. Increasingly synthetic with walloping dance beats and guitars and drums being edged out by machines. No different than from the last album, which DEVO self-produced at far lower cost than RTB, I’m sure.

DEVO may have held the producer at bay since there’s none of his penchant for stacked harmonies to show for his work here. The biggest sonic distinction here was the hard, flat, synthetic beats that were like a sock in the jaw. The songs weird chorus was of a guttural pirate [as seen in the video] shouting “Ha! Ha! Ha! Ha!” followed by Mark’s exhortation of “Peek-A-Boo!” The latter as run through a synth for some rubbery distortion.

The band were really couching their songs of social dissonance in as bouncy and ironic a sonic setting as possible. Gerald Casale was on record as saying that the song, which used infantile metaphor, was about noting the shadowy underbelly that society demands we keep well hidden. The performance of this tune was very much a “digital cartoon” as the cover blurb of their 1988 album, “Total DEVO” would later claim. I did like the synth riff that called attention to the dark aspects of the theme like a warning claxon in our midst. It’s certainly a typical example of “high DEVO.” Here’s the band performing it live in the Great White North a [gulp!] decade ago.

Geffen Records | US | 12″ | 1988 | 0-20977

Six years later, Siouxsie + The Banshees released the lead off single from their 1988 album “Peepshow,” in the completely unique “Peek-A-Boo.” That album probably got its name from this rather amazing song that examined the power dynamic between dancer and gazer at an actual peepshow. If the subject matter was far darker than the pop chart norm, then don’t tell the chart police because the song hit number 16 in the UK and was the band’s first charting single in the Billboard Hot 100 at number 53. But if the subject matter here was unusual, the song itself went much further off the map.

The song was begun a year prior as the band took brass and drum elements from their version of John Cale’s “Gun” and began manipulating them in a sampler…backwards. Laying a foundation that sounded like a fife and rum corps from hell. Their producer was the “game for anything” Mike Hedges, who had already worked with The Associates at their most florid, so the rulebook was duly jettisoned up front.

The forwards and backwards elements of the song almost meshed to attain a shambolic chaos crackling with vitality as the conventional elements of the song, like bass and guitar were pared down to the bone to achieve something extraordinary this time. Drummer Budgie added a second thunderous drum track going forward, over the whole thing and the wheezing accordion from Martin McCarrick added the odd cherry on the top of this dazzling single. When they had finished making this one obviously, it was destined for much more than B-side status. Why not enjoy this alternative student film version of the video with directrix Helen Pearce cutting a fairly competent figure as a Siouxie impersonator?

As much as I love those Spuds, they were no match for the SATB juggernaut having a late-in-the-game burst of extreme creativity with their own “Peek-A-Boo.” The latter is one of the most distinctive singles that the band ever issued and I’m still astonished that it charted as high as it did in America. What were we doing right back then?

Also, when I was researching this post, I made the astonishing discovery that the “Silver Dollar Mix” as released in the UK on 12″ and on the 2002 “Best Of ” 2xCD was an 8:12 edit of the full monty 9:58 North American “Silver Dollar Mix” that was played in full on the US 12″ and even the Canadian 12″ and CD5 from our friends in the Great White North!

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Posted in Steel Cage Match | Tagged , , , | 13 Comments