This page is a collection of articles of interest related to the guitar, written by folks from outside the circle of the Jefferson Classical Guitar Society. You may either read each selection by scrolling down through the various articles or select the article you would like to read by clicking on the highlighted text below.

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Rafael Serrallet, a classical guitarist from Spain, has written a doctoral thesis about the Spanish composer Manuel Palau and his Concierto Levantino for guitar. We are most pleased to publish Señor Serrallet's summary of his paper, "MANUEL PALAU AND THE GUITAR. THE IRRESISTIBLE CALL OF MUSIC. CONCIERTO LEVANTINO. PERFORMANCE PRACTICE" on the Jefferson Classical Guitar Society website.

Website: www.serrallet.com
E-Mail: serrallet@serrallet.com

Raphael Serrallet

Manuel Palau (1893-1967) is, despite his prolific musical production, relatively unknown in the music world. This ignorance of his music is even larger when we talk in terms of the guitar. Palau left a very interesting collection of guitar works and, additionally, he wrote a substantial concerto that is almost forgotten today and has been barely performed since his composition.

This doctoral thesis draws us closer to the reality of Manuel Palau,s guitar music and is divided into two parts. The first is a review of the historical, artistic and musical panorama of Palau,s age, and more exactly, of the period in which the concert was written. The second is the musical analisis of the concerto. The axis of this thesis, is something of a pioneer in its genre, being born in the shadow of one of the foremost guitar works, and one of its main points of reference, the Concierto de Aranjuez.

The thesis begins with a review of the historical and artistic environment in which Palau developed, followed by a detailed analysis of the musical and guitaristic climate of the age. This focuses on the different musical currents contemporary to Palau and the influence of folklore and popular music, all of which resulted in producing the artistic legacy of a musician who searches for his own identity.

Palau lived some of the sweetest and most bitter moments of art in Spain. He had the good fortune to be a contemporary of a large number of artists (painters, poets, musicians) and scientists who had achieved international significance. However, he also had the misfortune of living through the horrendous events of the military insurrection against the legitimate government of the country and suffered the post-war horrors of the post-war that severely impeded artistic production. But the Valencian musician composed until the end of his days, motivated by the satisfaction that his own creative activity gave him.

Palau looked into the French musical mirror, where he found some of his more important musical influences. The artistic currents that coexisted at that moment influenced his music to a greater or lesser degree. An review of some of those styles, Palau,s sources of inspiration, bring us closer to the European musical environment of that time. But, without doubt, one of the elements that marked his music in a definite way, was to be Valencian folklore. Originally from a small village in the Valencian countryside, the music that he heard sung at parties, weddings, etc, were to become his constant inspiration. Sometimes, he recreates a given popular themes, other times he invented melodies himself in the style of folk music , giving his compositions a peculiarity that differentiates his music from other Spanish music of the time (that often looked to the South of Spain for its inspiration) that had become popular towards the end of the 19th century.

Palau,s life unfolded almost in parallel to the development of the modern concert guitar. The composer bore witness to the most important changes that the instrument underwent in practically its entire history. In a way that is not immediately obvious, Valencia itself played a crucial role in this process, and its composers and guitarists, played an essential role in placing the guitar where it is today. That is why it is very important understand the reality of Valencian life in the first half of the century and the interrelationship that they make to each other.

A description of the guitar works of the composer, gives us a better perspective of Palau,s interest in the guitar and help us to gain better insight into some of the personal and musical factors that tied don Manuel to the instrument. The use of the guitar with orchestra, the inspiration of Manuel Palau,s concerto, was not widespread at the time that he composed his work. To take on such a daring compositional project was not common. The precursors of this work, with the exception of the Concierto de Aranjuez, were always the work of guitarist-composers and it is the Rodrigo concerto that gives clues to help elaborate the hypothesis presented here.

The Concert of Valencia (as is written in the orchestral parts of the Concierto Levantino) is one of the unknown large-scale concertos in his output, nevertheless it was one of his more ambitious projects. He spent a long time and invested great effort in this concerto. Dedicated initially to Regino Sainz de la Maza, it was premiered by Narciso Yepes and the ONE (National Orchestra of Spain) in Madrid. Years later, Palau revised his music to make important changes, most of all in the first movement, that were played in Valencia in 1954 by Manuel Cubedo as soloist and that were reflected in the only recording that exists, made by Yepes and the ONE in 1959.

Narciso Yepes is, in his own right, another important figure connected to this work. Despite an uncomfortable rivalry with the exceptional Andrés Segovia, also a man with his own prejudices and fixations, Yepes was nonetheless able to become another of the great international figures of the guitar, thanks to his persistence and his personality. His signature is also firmly imprinted on the pages of the Concierto Levantino. However, part of the merit given to Yepes belongs to another young and unknown musician: Manuel Cubedo who helped the maestro to revise all the parts with which Palau was dissatisfied, but who was discretely sidelined, and denied due gratitude and acknowledgment.

The second part of the thesis comprises a musical analysis of the concerto, his most important work for the guitar. In this section, Palau,s most distinctive compositional features and inner secrets are revealed through a detailed examination of the original scores, and these are discussed in conjunction with a wide range of other documentary materials concerning the work that are gathered together here. The different surviving versions of the concerto, in manuscripts from 1947, 1954 and 1959, have been carefully compared.

Manuel Palau looks for the Valencian,s colour: at a time in which Andalusian regionalism was dominant, the maestro sought inspiration in his own cultural roots.

Two further chapters discuss a couple of controversial issues that can be interpreted in many different ways. The intention is not to attempt to resolve questions concerning delicate matter such as musical interpretation or the use of amplification, but rather to reflect upon the questions they pose. The fact that they are so closely tied to the central theme justifies their inclusion in the thesis.

The conclusions show us the multiple complications associated with Palau,s decision to write for this unusual musical ensemble, and how he changed the work after initial bad reviews. We try to clarify the reasons as both he and his work are almost forgotten, and we try to restore the acknowledgment due to him. It would indeed be welcome to see the Concert of Valencia return to the current repertoire of guitarists.

The guitar, was, as Palau himself points out, important to him at the time he chose his music vocation. Through the sound of its six strings, the musician from Alfara heard irresistible call of music.

David Rogers
Songs of the New West

Perhaps nothing is more exhilarating to a quality of life than to live in an area both surrounded with scenic beauty and full of inspired, creative artists and musicians. I am lucky to have lived most of my adult life in Eugene and Ashland, Oregon. I grew up in California and the Midwest, and spent a part of my life hitch-hiking around. My songs represent that experience. Bigfoot is a metaphor for a lumbering but not especially socially adept being that ends up hitch-hiking down the road in one of my songs, heading for Alaska where the crowds don't hem him in. People I have known have roles in some of my other songs. So have towns and places. In my 30 years as a seasoned performer, I still approach venues in a very unassuming way; my energy is open and just inquires, like an adult kid, "Can I play?" I avoid name-dropping because I don't like to tie onto others in an artificial way. In one of my songs I make fun of the process of name-dropping, whether of "the teacher who taught you or the boss who bought you." I want to be as independent as my songs are, but that doesn't mean I want to live apart and adrift, let alone be anti-social. As I sing in my song "Encounters on the Western Slopes", I'll build bridges to the ones I love best and hang upon my hopes. I have been playing in coffeehouses, bars, schools, nursing homes, bookstores, nuthouses and jails now for 30 years, and try my best to cut through the stormy mundane with a repertoire of music and songs that both sears and caresses. I see our society sick from too much greed, inequality, jealousy, apathy, cruelty, fear and insecurity. The "New West" I am referring to is an increasingly crowded, inflated environment which has too often meant trading in old problems for worse new ones. As my friend Andrew wrote, we are getting nudged in with congested crowds that are like hatchery trout as opposed to native fish: greedy, voracious, hemmed-in beings with no instinct for living within the means of the environment or having any sense of protocol and balance with others in their stream. We need to create more things that address these issues. By "we" I mean any of us in the community who wish to share our talents in an inspired way. I remember when I ran across a group of performers who didn't want to encourage any more talented folks to share their work on stage, because "there are too many people." One person explained that they were serious artists looking for a 'chance' or a 'following' and complained that too many people wanted to perform but nobody wanted to listen. But the solution to that problem is not to have fewer good performers but to have better listeners. The entire notion that we need less inspiration in the many so that we can gratify the egos of a few is utterly wrong. 'There are those who writhe in terror and hate at the strengths and the talents of others, imagining it's all at their own expense, until one finally discovers: it's not in the struggle to control the stage, it's not in the fight over making it, it's all in our lives and our love and our work, and all the rest is faking it.' We all need to believe in ourselves. But it's only O K to have a big ego if you have a big enough soul to accommodate it.

Hi JCGS!

I have posted my classical guitar arrangements on Finale showcase. It can be reached at:

http://www.finalemusic.com:81/coda/fs_home.asp

or go to www.finalemusic.com and click on Showcase.

My guitar pieces are all filed under 'Solo instrumental-guitar', or search under the title.

The pieces are:

-"Carolan's Concerto"--Turlough O'Carolan;

-"Carsiski Cucek"- public domain;

-"Maple Leaf Rag"--Scott Joplin;

-'Largo from 'Airs for the Seasons''-- James Oswald;

-"Take Five"--Paul Desmond;

-"Habanera"-- Georges Bizet.

Let me know what you think of these. If you have sound turned on your computer, the mechanical playback should work OK on them.

There is also my arrangement of a charming medley of two semi-children's ditties; "The Cookie Song and the Donut Song" with song portions from Larry Penn and Ken Kesey. My fingerpicking arrangement should be fun for classical guitarists who want to do more basic picking patterns than "Maple Leaf Rag". It's filed under children's music, but there are serious messages in the lyrics that would hopefully not spoil one's innocent appreciation.

Best regards,

Dave Rogers (Eugene, Oregon)
d-rogers@efn.org

Note: The following article was reprinted, with permission, from the "Wellness Letter", a publication of the School of Public Health at the University of California, Berkeley. They can be reached via their website at WellnessLetter.com.

The technical term for splitting nails sounds worse than it is­onychoschizia, which comes from the Greek for, well, split nails. It's actually another version of dry skin and will respond to some of the same treatments. Fragile nails are sometimes caused by thyroid disorders, anorexia, anemia, or severely deficient diets. But mostly they are just a nuisance (Editors Note: unless you are a classical guitarist. Then they are an aggravation), not a symptom of some underlying problem.

Diet has little to do with the condition of your nails. Since nails are made of protein, the idea persists that eating gelatin­also protein­will help strengthen them. Those who market gelatin often try to encourage this belief, but it isn't so. Calcium is of no use for this purpose either, since nails don't contain calcium.

Here are some things that can make your nails break off: exposure to water (as in dish washing); exposure to detergents; and frequent manicures that involve the application of a lot of chemicals, especially polish remover. Dry, overheated rooms may cause nails to break. Summer humidity is helpful, and nails actually grow faster in warm weather.

-Wear protective gloves when washing clothes or dishes.
-Don't expose hands to household cleaning products, including detergents that claim to be easy on hands.
-Wear gloves in cold weather and when gardening.
-Apply moisturizer to hands and nails after bathing or washing your hands and at bedtime. Plain petroleum jelly is an excellent moisturizer for cuticles and nails.
-Avoid frequent use of chemical cuticle removers and polish removers, especially those with acetone. If you get a professional manicure, avoid harsh chemicals.
-Never apply glue-on artificial fingernails.
-Don't use your nails as a tool (Editor's Note: except when playing the classical guitar). There is always a better way.
-Be gentile with manicure tools, especially metal ones. Use a soft orange stick for gently pushing back cuticles. Use a fine file or emery board to shape nails. Keep nails short (Editor's Note: unless you are a classical guitarist).
-If you're undertaking a program to revive brittle nails, or waiting for a bruised nail to grow out, remember that it takes about six months for a new nail to grow from cuticle to tip.
-The American Academy of Dermatology now recommends products containing alpha hydroxy acid derivatives to reduce breakage and perhaps help harden nails. These include "Derma Nails" and "Neoceuticals Nail Solution".
-Many companies will try to sell you nutritional supplements for nails. The only vitamin that might possibly have a strengthening effect on nails is a B vitamin, biotin. It's in most multivitamins. But no one knows if it really works, or how much you would need.

Footnote: a comment on the above from el Presidente, Grant Ruiz

Interesting remark re:

-Never apply glue-on artificial fingernails.

Doesn't say why. Kelly at Abbintito's told me that the big problem is taking off polish or glue. People do it too quickly, without applying solvent long enough, and the chemicals rip off some of the nail plate. She also said that nails that have gotten really wet, e.g., with water or solvent, should be allowed to dry for an hour before using them. I would love to put a plug in for Kelly. She has several musicians as clients, listens to your concerns, and is careful to inform.

A note from the WebMaster: The JCGS recently received an e-mail from a long lost local classical guitarist named Dave Rogers. Now, all of us locals know who Dave Rogers is and we know that he is certainly not "long lost". He is the classical guitarist, early instrument specialist, OSF Greenshow musician, SOU guitar instructor, etc. However, the old timers around these parts remember a time before Dave Rogers arrived here in Ashland. Back in those days, you see, there was this other classical guitarist named Dave Rogers who was something of a guitar playing lumberjack. He suffered an on-the-job injury to his wrist, as I recall, and was forced to take disability. He then turned to the guitar full-time. In addition to his guitar playing, he was a song-writer, singer and composer. Among his favorite song topics were songs of his experiences in the mountains and forests of southern Oregon and northern California (the state of Jefferson). He wrote a song about an encounter with Bigfoot and since then has come to be known as "Bigfoot Dave".

There was a short period of time after the new Dave Rogers moved here that the original Dave Rogers was still in town. It is easy to imagine the confusion that ensued around the musical community with two classical guitar players named Dave Rogers living and working in Ashland. Before folks figured it out, you could hear comments such as, "Hey, did you hear that Bigfoot Dave has taken up the Rennaisance lute and is working for the Shakespeare festival?" And then, "Naah, that can't be right...can it?" Or, "Hey, did you hear that the lutenist from the festival was singing lumber jack songs down at the local pub?"

Bigfoot Dave Rogers got his Bachelor of Arts degree in music performance on the guitar from SOU and then moved up to Eugene to enroll at the University of Oregon where he completed his masters degree in ethno-musicology. The topic of his masters thesis was the music of the 17th century, blind, itenerant, Irish harpist, Turlough O'Carolan. The thesis includes a number of Dave's transcriptions for classical guitar of O'Carolan's harp compositions. He now resides and works as a performing musician in and around Eugene.

The confusion between the two guitarists reared its head again recently when both Dave Rogerses showed up at the same gig in a Eugene coffeehouse. The Eugene Dave Rogers now likes to refer to himself as "Dave Rogers the elder" and, of course, the Ashland Dave Rogers has now become "Dave Rogers the younger". Below, you will find a letter to the JCGS from Bigfoot Dave. I was given permission to post it to this site by the author.

From: David Rogers <d-rogers@efn.org>
To: JeffersonCGS@hotmail.com

Date: Wed, 19 Feb 2003 11:26:04 -0800

Thanks to Joe Thompson for turning me on to the Jefferson Classical Guitar website.

It's good to see the classical guitar flourishing down in my old Ashland haunts. I continue to pursue my own wayward journey into musical eclecto-warp. I actually have a new CD out, called "Encounters on the Western Slopes", and I sell copies of it here and there.

I perform at everything from jails to altzeimer's units to nuthouse facilities to restaurants, and occasional recitals, mostly for pay, believe it or not. I average 2 -4 gigs a week, so I get paid for performing on a weekly basis, a very weakly basis in fact!! It was a treat to recently and accidentally share the bill with Ashland's guitar virtuoso, David Rogers!!. How this happened: the booker of the Eugene venue "Cafe Paradiso" notified me that I was slated to play on a date, but he got me confused with the other David Rogers. But it turned out to be a fine, fun event anyhow.

I see a lot of familiar names on the Ashland events calendar. It's good see old friends like Joe Thompson, Tim Church and Tom Reddick out exercising their fingers on our noble instrument. Some other names come to mind. How is Komac Tapp? Bo Leyden? Bill Leonhart?

I haven't been playing in the Ashland area for awhile. The last venue someone arranged for me to play at down there was a little coffeehouse, where I told one Christian joke and alienated one half of the audience, and told a Buddhist joke and alienated the other half. Once I had the place to myself, I allowed the echoes of my own guitar playing to resound against the walls, with alternating arrangements of Irish harp music by O'Carolan, with Balkan Gypsy music arranged in the Spanish style. And a few rabble-rousing protest songs thrown in. I remember the second and last time I opened a show for the late steel string guitar legend, John Fahey. He said, "I guess I gotta let you open for me, you're bigger than me. There are too many damned guitarists in the world, they oughtta shoot half of them!!" He was right, of course. But I suppose some of us are still hoping for an enlightenment to show the way for the nobility of music to rise above mean ego politics, and it can and it does. I attended Fahey's memorial in Salem last year, and that experience came back to me when a disabled musician, a classical pianist with a masters from the U of O in ethnomusicology, showed up to one of my rest home venues in his wheelchair. He had been terribly busted up with a shattered elbow in an accident, and he said that my playing was an inspiration for him to rise above it and play on the stage again! That's the kind of stuff that really sustains me!! Other earlier fun venues included performing for a 4th of July party with Linda Yeager, daughter of famous test pilot Chuck Yeager, (remember "The Right Stuff") with a wonderful stunt pilot show after; and later that same afternoon, up the next gulch, with Ken Babbs and the surviving Merry Pranksters and a multitude of hip characters (sharing the stage with many fine music acts) , including Greg Kebkey, founder of Ashland's Rogue Brewery, those were the days! (remember "The Electric Kool Aid Acid Test", of course). It was like wandering through the legacy of Tom Wolfe's most famous books in one afternoon!

So to you David Rogers fans out there, I have one treat for each of you! A little short story called "Visions of Bigfoot on Mt. Pisgah" and the lyrics to one of my recent songs, "The Bane Attitude". I have recently hooked up some Finale Guitar '03 software, and I would like to trade classical guitar arrangements by email attachment, for any who might be interested (I have Norton Antivirus protection). I have "Maple Leaf Rag" , Planxty Irwin", "Habanera", "Diminushing", and some Gypsy dances in the works. Let me know if you are interested.

P.S. Another Eugene classical guitarist, Craig Einhorn, told me he was to play at the Siskiyou Barn near Ashland. Does this place still book musicians occasionally? If so, let me know. Cheers to all, keep laughing, crying, composing and playing!

Bigfoot Dave Rogers

More...

On episode 2 of the Blues series on PBS last week, the show opened with the NASA voyager spacecraft launched in 1977. On the spacecraft is a disk which contains words and images and sounds. Blind Willie Johnson's "Dark Was The Night" is one of the songs on the disk. At one place at the end of the film, you see the legendary blues/spiritual singer (portrayed by a present day actor, lip-sync-ing the original recording) against a starry cosmos backdrop with his blind focusless eyes, twenties-style getup, and head bobbing around in spiritual reverie, singing "The Soul of a Man".
I remember the late John Fahey, on the liner notes to one of his records, telling about being haunted by one of Blind Willie's recordings, "Praise God I'm Satisfied" and then suddenly bursting into tears and just sobbing away.
Ken Babbs' current website devotes a whole page to Blind Willie and Voyager 1. He quotes Don Groble from Chicago saying, "I LOVE Blind Willie Johnson's stuff, it's real spooky, and if the aliens get a hold of this stuff, they're either gonna get real scared and destroy our planet, or spooked real good and we'll never see'em." Babbs also shows diagrams of the recording devices on the voyager spacecraft designed by Carl Sagan.
A Rolling Stone review once described Johnson's voice as sounding like "the hellhound Robert Johnson feared".
Interesting that a Blind Willie Johnson recording is placed along with a Bach fugue, a Beethoven symphony, and an Indian raga as representing the important human achievement to be launched into Galactic posterity. Maybe not surprising, though. His kind of rural solo blues/gospel/spiritual singing represents (to a lot of people) all feeling, the soul stripped bare of all pretension.
Reportedly, the voyager spacecraft is just now outside the orbit of Pluto and heading out into real outer space. Estimates are it will take many thousands of years for it to intercept with another heavenly system.
Blues carried through space. Baring the soul of the human race.

Dave Rogers

JCGS Webmaster's note: This article was gleaned-with the author's permission-from Mr. Sauter's website.

 

Guitar Society Thoughts
by Donald Sauter

Guitar societies come in two basic flavors. Some exist mostly or solely for presenting guitar concert series; others are mainly a club for guitar chums to get together and do whatever it is guitar chums do.

I am a great proponent of the second type. I think the fundamental purpose of a guitar society is to provide a means for people who are interested in the guitar to share that interest. For me, that would mostly involve playing with and for guitar friends at monthly "guitar parties", since playing is what it's "all about". I can envision alternating meetings between Open Recitals, where anybody at any level is encouraged to play for an appreciative and supportive audience, and Ensemble Sessions, where everybody joins in a big guitar orchestra, working up a piece and maybe even making a goal of recording it.

While I don't think guitar societies should bankroll concert series with members' dues, my vision of a guitar society doesn't preclude concert series. The society brings guitar people together. If some of them want concerts and have a touch of entrepeneurial spirit, they can take on that project. And it's right that they should collect the financial rewards.

Reprinted below is an article written in response to feedback generated by a questionnaire which appeared in an earlier Washington Guitar Society (WGS) newsletter. Even without the results of the questionnaire, the article may be of interest to anyone active in any sort of guitar society. It deals with the issue of volunteerism in the context of the "guitar club" type of society championed above.

Questionnaire feedback feedback

In the previous newsletter we published the results of our survey. I found one of the comments, in particular, very thought-provoking. A respondent pointed out that a problem with volunteering is that you don't know what you're getting yourself into. What are the duties? What experience do you need? How long is the commitment?

He went on to propose a solution: rather than simply put out a call for volunteers, someone in charge should buttonhole a likely individual and provide a detailed job description, so to speak.

That would seem to make perfectly good sense in general. In our case, however, I think it misses what the guitar society is - or should be - all about.

Our guitar society provides a mechanism whereby everybody who has any interest in the guitar can come together and share that interest in any way they want. There is no set of regulations carved on a tablet somewhere defining what a guitar society must do and must not do. Ours will do exactly what we want it to do - no more and no less.

The point isn't for a leader to pressure anybody into doing anything. The point is, if there is some desire among members for something to happen, then one or more of those people can step forward to make it happen.

Don't view the WGS the same way you would the movie or auto industry, for instance, which puts out a product that you have no control over, and you either approve or gripe about it. I'm not just spewing empty rhetoric by saying, "The Washington Guitar Society is you."

Several times in the past we have run a list of "real cheap things" you can do to make the WGS a success. It looked something like this:

Show up at the meetings.
Play for the open-stage hour.
Bring refreshments to the meetings.
Bring prepared ensemble music to the meetings.
Host drop-in ensemble sessions at your own home.
Contribute to the newsletter: write articles of any sort, design a WGS logo, submit an original composition or arrangement, compile the calendar of events.
Help out with the newsletter: typing, mailing, distribution to music stores.
Librarian. Organize our newsletters and other publications received, and control the lending of whatever material we collect.
Donate a guitar magazine subscription to the society library. Donate books, records and music you don't want anymore.
Historian. Archive material relating to society activities, and the D.C. area guitar scene as well. Collect concert programs, fliers, newspaper ads and articles,
etc.

These are the things that come to my mind. If there's something you want to see that's not listed, go for it. You don't need to be granted permission from on high.

Still, you might be wondering, "Yeah, there are some good things there, but what am I getting myself into?" That's up to you. Anything you contribute is a bonus and would be appreciated.

Thinking of bringing refreshments? You could make a gourmet double deluxe chocolate cheesecake - or you could bring a bag of animal crackers. (They're a hit, I can attest!)

Want to contribute to newsletter? It could be a dissertation on some technical problem you've overcome - or it could be a single-sentence, "My favorite piece right now is _____." Wouldn't it be fun for members to contribute short pieces on "How I got interested in the classical guitar"?

Like the idea of a WGS historian? We have done remarkable things, haven't we? You could go hog wild with file cabinets and hanging folders and computer databases - or you could toss everything into a big, old cardboard box, knowing what a thrill it will be for some guitar enthusiast a hundred years from now to root through.

Like the idea of a WGS library, but don't have a crystallized vision of what things it should keep, or how it should operate? Don't worry about it. We'll start with a brainstorming session and hammer it out as we go along.

We could really use a dedicated calendar of events person; someone who would not only passively receive notices sent in, but would actively ask around in the likely places about upcoming guitar events.

But doesn't all of that sound like work??? If it does, there's a problem. All hobbies - gardening, photography, collecting, u-name-it - take time and effort. Wouldn't be much of a hobby if it didn't, would it? If the effort seems more like work than play, that would indicate you've chosen the wrong hobby. The guitar's a fine hobby, innit?

Finally, responding to the concern about commitment: when you have to stop, you stop. We will be richer for whatever effort you contributed.

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