Salute to People Who Do Their Jobs Well - Lynda, My Travel Agent

Someone gave me Lynda's phone number back in late 1991 or early 1992 when I was planning a class on Chinese Civil Service Reform and wanted to take the students to Hong Kong and Beijing as part of the class.  Even then, air fare and ten days of hotels plus a day tour in both cities for about $800 was a bargain.  I'd really expected to work out local housing with people I knew, but when she came back with those prices I surrendered.

She's been my travel agent ever since, and I've posted about her before - Why Travel Agents are Worth the Fee and  The Academy Award for Best Travel Agent Goes To.

She's great because:

1.  She tells me things like, "Steve, just do it online yourself, you don't want to pay my fee."
2.  She's always ready and willing to check things out even if she knows she's probably  not make any money off it.
3.  She's made my life much easier when flights got canceled or changed for a variety of reasons.
4.  She's funny.  And she laughs, and it sounds genuine, at my bad jokes.
5.  She's smart and knows how to make things work.
6.  I know she'll do whatever it takes to make sure my trip goes well.

She also knows that sometimes I'll find a fare I like and then send it to her to make the reservation.  I'm willing to pay the fee knowing if anything, and I mean anything, goes wrong, she'll be working hard to help straighten it out.  I'm more likely to do that on more complicated trips.  She's called an airline for me and made a huge fuss which led to someone in the airline president's office calling me to offer apologies and reparations. He also said, you've got helluva travel agent working for you. 

We did business together for years by phone and email and she'd send tickets by courier.  One day I was someplace, I can't remember where, and I heard this woman talk.  I looked at her and said, "Lynda?"  and she looked at me and said, "Steve?"   Her voice is pretty distinctive, I didn't realize mine was too.   

In this day and age of online reservations, who needs a travel agent?  Sometimes you just get exhausted.  Sometimes the options you want aren't available online.  Sometimes you need someone who knows people at an airline, in a system, in a part of the world.  And if things go wrong, it's nice to have a travel agent call for you.  They have direct phone numbers that reach real people.  (Except the Prinz Hotel.)

We had lunch today with Lynda and she let me take the picture above to post here.  The company she first worked for when we met got bought out half a dozen times since then (picture a big fish swallowing the next fish swallowing the next fish and on and on) and I can't ever remember the latest name.  She used to specialize in business travelers and still has old customers who feel the same way I do about her.  She does a lot of cruises these days and some package tours, but says Alaskans tend to be more independent travelers.    She does a lot of vacation travel - putting a whole package together.  She's good at Mexico, Caribbean, Italy, Asia (she loves Bali), and Hawaii. 

So, if you need someone who's been a gem for me, you can call her at

One, eight hundred, Three Three Three 6 Three 8 Three.

Or email her at lmcmahon AT cwtvacations.com

And remember, be as nice to her as you want her to be to you.

And remember all the professionals in your life who are good at what they do, totally trustworthy, and believe in giving their clients the best possible service.  Let them know how you feel.

[Regular readers know I don't take money or other favors to say good things about businesses or products, and that I've posted about companies that solicit bloggers to push businesses.  Know your blogger before you take their recommendations.]

AIFF 2010: Tips for Film Festival Skeptics [Updated for 2013]

OK, you've heard that the Anchorage International Film Festival is coming soon, but there are so many movies you never heard of that you really don't know how to pick a good one.

And why are tickets at the Bear Tooth going to be $8 for the film festival instead of their regular (newly raised) price of $3.50?  Besides movies at Film Festivals are experimental and weird and just film groupies go, right? 


Maia Nolan at Alaska Dispatch was doing a story on the film festival and buttered me up into sending her some tips for

"someone who'd never been [to a film festival and] was on the  

fence about checking it out, what would you tell them?"

[UPDATE:  Maia's post is up now.]

I've been trying to do an update of last year's Film Festival UFAQ's (Unasked Frequently Asked Questions)[I have updated and posted a new version for 2013] but it's not done yet.  Some of it is still relevant, a lot not. So, here are my  

Tips for Film Festival Skeptics.  

1.  See a film the film maker will attend and discuss.  This is one of the great parts of a film festival.  Don't be nervous about talking to the film maker.  Most film makers are more nervous than you are.  The baby they've been working on for years is now getting judged.  You get to ask how they picked that music, or why they wrote that story, etc.  You can see a list of film showings that include the film maker at:

It's not easy to figure this out.  For now you have to scroll through all the films and some show that the film maker is expected to be there.  I'll try to get a list of all the showings with film makers scheduled for Q&A afterward.  I know of at least film maker who is planning to be in Anchorage, but he's not listed.  So I'm sure it's not complete.


2.  See 'films in competition.'  These have been selected by the initial screeners as the best in their category.  That doesn't mean the others aren't good and it doesn't guarantee you'll like the film.  It increases the odds though.

http://www.anchoragefilmfestival.org/2013/the-festival/festival-selections/

will get you to a list of all the films by category (feature, documentary, short, animation, etc.) and the ones in competition have a ✓ at the end.



3.  Go to a free event.  The Family and Youth Media Program (Saturday morning, December 10, at Loussac  from 11:30 to 5) is free.  For more information go to
here for the Marston Theatre events.

4.  Go see an animated program.  These are shown in groups or programs because most are pretty short. If you don't like one, it will be over soon and you're almost guaranteed to see at least one that will make it all worthwhile.  Some of the most exciting film is animated and you won't see these other places.  There are programs for families and for mature audiences only. You can find the animated programs

There is just one program of animated shorts this year.  There's the animation program and the last film in the Horror program is also an animated film.


Like all websites with LOTS of information, the Festival Site is complicated and takes a bit of time to figure out. Pick up a copy of the print version (in the current Anchorage Press). I also have a post with some tips on negotiating the Festival Website.
The post is a year old, and the images are from last year's festival, but the information is still basically good.  EXCEPT:  There is only one pass this year ($100 - $90 online before Thanksgiving.)

AIFF 2010: Features in Competition - Son Istasyon (Last Station)

Here's what's up already on the Features in Competition:

• The overview of all the Features in Competition, and
  
• The Wild Hunt
• The Temptation of St. Tony

This one could be good. It only plays once and the film maker is scheduled to be there. At the very least it will give a glimpse into life in Turkey.

From Son Istasyon website

There's not much online about this film. Here's a google translation from a Turkish site Sinemaloji (the IMBD summary is similar, but this has more charm.)

SUBJECT: A railway officer, played by famous comedian Levent Kirca movie passes between trains. Warm and engaging story of remarkable production for a long time erased memories of the last station striking scenes and surprises the audience may be film-quality shows of the year.  Three children, played by Levent Kirca Ruhi railway officer and his family installed in telling the story of sadness and humor, drawing a realistic panorama of Turkey.

Ruhi is a small station in the country a memurdur counting his retirement days.  Retired roof of a house not flow away in a peaceful way to spend your life in the most recent  big dream.  But the daughter and youngest son of Esra Önder like to live better understood, and there is an innocent wishes. Their dreams of the innocent, the whole family at a time leads to Istanbul. Ruhi coming to Istanbul with his mother, his wife and is no longer anyone's control of events is no longer growing.

When you go to the  Son Istasyon website you hear a snippet of their theme music.  I had it on while I was checking up on the various Features in Competition and even though it looped after a minute or two, I really got into it.  They also have the trailer on the website - they've disabled the embed code, so I can't add it here.

AIFF 2010: Guide to Using Their New Website and Festival Genius

This year the Anchorage International Film Festival bought Festival Genius, a program for film festival websites.  Rand at the Bear Tooth was making the website by hand a couple of years ago and now they have an off-the-shelf product.  Well, it's not quite that simple.

There are actually two websites - the AIFF's website which is what you see on the right.

The tabs didn't come out too clearly in the screen shot - they're in the burnt orange bar above 'Advance Tickets." (If you double click on the images you can see them better.)

This is the Home.  If you click any of the others tabs you stay in this AIFF website.  However, if you click the Film Selection Tab and THEN click on one of the two drop down selections (2010 Schedule or 2010 Screenings), then you go to the Festival Genius AIFF site.   It looks like this:

From here you can check out all the films and when they show.  The four drop down windows

• Category
• Country
• Venue
• Trailer

give you lots of ways to sort the films that weren't available in the past.

REGISTRATION ON FESTIVAL GENIUS
If you register (on the FG pages) you can also click to put films you like onto a schedule.  I haven't done this because I didn't like the terms of the agreement (probably not a problem for most people, but it was for this blogger who might want to take screenshots) or the privacy conditions so I didn't register.

You can also make comments about the films - they encourage reviews.  (Someone suggested I post copies of my reviews there, but the agreement says FG owns whatever you post.)

You can also make reservations.  That doesn't mean buying the tickets.  However, for films at Out North, you CAN BUY TICKETS online (but not for the Bear Tooth.)  You DO NOT HAVE TO REGISTER to buy the tickets for Out North showings.

So there is a lot available on the Festival Genius part of the website.  All the Festival Genius pages say Festival Genius on the right left side just under the header (see the FG screenshot above.)

Also, on the URL bar before the http:// it has fg.  The AIFF regular pages have the snowflake symbol there.

HOW TO GET BACK TO AIFF ORIGINAL SITE FROM FG

Problem:   There is no link that's marked to take you back from Festival Genius pages to the original AIFF pages.  But you can go back by clicking on the header (the part that says "10 Anchorage International Film Festival" with the burnt orange and dark green/blue on top.)  It's easy to get to FG from the original AIFF, but you need to take the secret passage in the header to go back.

TICKETS and PRICES

All the information about prices and tickets are on the original AIFF HOME page, so if you slip into Festival Genius and want to know about prices, you have to click on the header to get back there.

Individual films are $8.
Workshops are $8.
Special events - opening night gala, awards ceremony, etc.  vary in price.

When you do switch back to the original AIFF pages from the FG pages, you probably won't get the header picture with the people in the audience (above.)  I've gotten these two.

Remember the AIFF original stuff has a dark background and the FG pages have white background.

When you get to the film pages on FG, if you put your cursor on a  particular film (in the image below on a grouping of shorts)  you'll get a window that shows more information. You don't have to click on everything and go to a new window and then return.  Very nice.

A




Another big improvement is that you can see the groupings for the shorts online.  In the past it was really hard to figure out when and where a particular short film was shown because you had to figure out what group it was in first.

Unfortunately, it still doesn't tell you the name of the grouping, but it does tell you what other films it screens with.  You have to click on 'more' and go to the next link to see the name of the grouping (ie Films for All Ages or Hot Animation for Mature Adults.)

However, if you go to the last 5 categories (not Snowdance though) you get the groupings (this image above) and it shows all the films in the grouping and the time and venue.

So go have fun looking around the website.  I found using the Countries tab interesting.

ALSO, DON'T FORGET there is a hard copy guide as well.  There's something nice about something you can mark up and take with you without having to plug in or log on.   It was in this week's Anchorage Press and you can get them at the Bear Tooth, Out North, and probably other places I don't know about.

AND there's an AIFF Facebook page and a Twitter account.

AND FINALLY, don't forget the festival passes.

For $90 you get an all film and all workshop pass.  At $8 for each event, if you go to 12 or more you come out ahead with the pass.
For $115 you get an all events pass - which gets you into all the films and workshops plus all the extra events (with food) like  the Opening Night Gala ($30 otherwise) and the awards night.  15 films or more and you break even, and fewer if you include a  special event or two.  And this is NOT a snooty festival.  I've always found people really friendly at these events.  And you get to chat with the film makers and actors as well.

And with the passes, you get into the theaters first without waiting in line (though you did need to stop at the ticket booth and show your pass and get a ticket so they can keep track.)

Here's what the 2008 AIFF Website looked like.

I managed to catch some of the Festival organizers doing some organizing Friday afternoon.

Rand (AIFF President) is at the end of the table, Tony (AIFF founder) is front right.  Dawnell (AIFF General Manager) is in the blue top to the right of Rand.  Teresa (AIFF Programming Coordinator and Liaison) is to the left of Rand.  I don't remember everyone else's names.  Sorry. 

Clutter Wars - Low Tide

The clutter wars continue.  J announced last week that she wants to paint one of the downstairs rooms and needs to get things out of there.  The room that is my project was totally strewn with boxes and stuff.  There was no room there to put the painting refugees from the other room.  So I vowed to get the floor cleared enough that it could become a storage room for the room being painted.

The picture shows the morning high tide and the afternoon low tide.

This room has been full and bare several times over the last few years.  I'd like to think that we get rid of stuff in the process.  And that like things get closer to being in the same boxes so they can be more easily sorted later.



In any case, I did get the floor clear by my arbitrary Friday deadline.  There does seem to be more room in the closet, and I remember filling the recycle bin with stuff.  Now I have to take pictures off the walls and books off the shelves and other odds and ends that are out in the open and move them into my now cleared floor.

AIFF 2010: Features in Competition - The Temptation of St. Tony (Püha Tõna Kiusamine)

[For 2013 AIFF selected films go here.]
At the rate I'm going, I'll get these Feature in Competition previews up by April.  I'm going to have to be a bit more efficient.  In the meantime  here's what's up already are

• The overview of all the Features in Competition, and
  
• The Wild Hunt
• The Last Station (Son Istasyon)

Here are some excerpts and links to explore for The Temptation of St. Tony, which I have high hopes for.  It would appear to be in the more 'esoteric' 'art' film category which is why it is a perfect festival film. The film makers are scheduled to attend the showings.

The St. Tony's website is spare. 

From Fandango

New York Times

A Take on Faith and Capitalism

By JEANNETTE CATSOULIS
Published: September 16, 2010

Bizarre and beautiful, disturbing and droll, “The Temptation of St. Tony” wonders what it means to be a good man. Kicking off with a quotation from Dante’s “Inferno,” this delirious sophomore feature from the Estonian filmmaker Veiko Ounpuu observes Tony (Taavi Eelmaa), a triumphantly depressed middle manager. Dissatisfied with his adulterous wife and a boss who orders him to sack all his factory workers, Tony descends into a midlife crisis that manifests itself as a series of increasingly hilarious, horrific visions.

Or are they? [the review continues]

UK site Hey Guys writes:

A possessed priest walking up the side of a rundown church, a phantasmic lady floating in the woods, a dead dog that is black and wolf like returning from the dead are among the many strange sequences that help to create the uncomfortable and weird tone of The Temptation of St Tony (2010). There are many film references in the film which suggests director Veiko Õunpuu's need to showcase his immense knowledge of criterion collection films by making references that presumably are intended to entertain the film aficionados among us. Õunpuu's acknowledges this directly in the film when Tony's wife's lover teases Tony for being an angel who is hopelessly oblivious. His cruel teasing fetches his girlfriend's disdain. Should it invite our disdain? It depends not on whether you can take a joke but rather on whether you are willing to look past the offense to enjoy the bizarre and absurdist display.

Jafarkas at Mixtapes gives us some background of the history of St. Anthony:

Dali's St. Anthony from Metal on Metal

In early Christian lore, the Egyptian monk Anthony traveled to the Saharan desert in search of St. Paul, but instead encountered a host of demons who tormented him physically in order to test his enduring faith. For reasons known only to 4th century masochists, this piece of arcana is commonly referred to as “The Temptation of St. Anthony.” Because of the graphic demon battles and underlying implications of lust and desire, surrealist painters from Hieronymus Bosch to Salvador Dalí have felt compelled to depict this story in painting. Georges Méliès, the magician of early cinema and a pioneer of fantasy filmmaking, also made St. Anthony's dilemma the subject of one of his early shorts.

From Wikipedia

You can get more details on his life at Wikipedia and you can see the other two parts of  Hieronymus Bosch Triptych of Temptations of St. Anthony on at another Wikipedia site.

Metal on Metal has a whole post with 14 paintings from  depicting St. Anthony







This film was selected for Sundance and is the Estonian entry for Best Foreign Film at the Academy Awards. (Wikipedia says the population of Estonia is 1.3 million) Markku Pätilä & Jaagup Roomet  have been nominated for best European Production Designer(s) at the 2010 European Film Awards for their work on Temptation of St. Tony.  Coincidentally, the awards will be announced in Tallinn, Estonia - the film maker's home - on December 4, the same day the film first shows in Anchorage.
[UPDATE Dec. 4: St. Tony lost to Roman Polansky's The Ghostwriter which swept six of the 18 awards.]

"He has comic timing tattooed on his genes" - Scott Schofield Performs at Out North

Scott in January

I first saw Scott Schofield last January when he introduced the Under 30 performances.  At the time I was surprised by his easy presence in front of the audience.  There was something special about him, though I didn't quite catch what he was doing here, something about being a visiting performer.  We missed his performance of Debutant Balls because we went to Juneau.

Scott after Wu Man

In July he introduced Wu Man and friends.  This time Scott was introduced as Out North's new artistic director.  Again, I was impressed.   Enough to write this as a side note to a long discussion of Wu Man and the evening's music:

His introduction Wednesday was a pleasure to listen to.  His words were good, his delivery fluent, and he effortlessly rotated to acknowledge the audience members sitting behind him on the stage. 

I'm giving all this background to just say, there was something special about this guy which I picked up from the time I first saw him.  Friday night I learned that he is an established performer who has performed all over which was brought home when in one of his pieces he mentioned that he'd 'just played to a packed house in Brussels."

So, my gut was right.  Out North has pulled a minor coup by snagging Scott as the artistic director.  He's closing in on his 30th birthday (this also came out - I think in the Q&A after the performance) and looks like he's approaching 20.  But he's been performing a long time and knows lots of people beyond Anchorage, a number of whom he's going to entice up here and introduce us to.

Friday night (and he does this again Saturday - tonight) he was on stage at Out North as a performer, though he confessed afterward that he couldn't completely get his administrator role out of his head  asking himself, as a performer and an administrator, "Is this show going to go well?  Is this going to help or hurt our future box offices?"

He didn't have to worry.  This guy is a natural story teller. He says raconteur, which I can't write unless the spell checker has it. (Phew! It did.) And his material is compelling.  The program says,

Two Truths and a Lie. . . is a collection of three autobiographical solo performances which have toured nationally to critical acclaim:  Underground Transit (2001), "Debutante Balls" (2004) and "Becoming a Man in 127 EASY Steps (2007).  

After Show Q&A

He gave the briefest of introductions - I'm not even sure what he told us.  Enough for us to know that he was born and raised as a girl and the title "Becoming a Man" meant just that, literally.  So, he had 127 steps.  Our job as the audience was to give him numbers and he'd find that particular step and perform it.  Or, as it turned out once or twice, show us the video.

I don't know a lot of people who have changed genders and the couple I can think of switched from male to female.  And it wasn't something we talked about.  I listened to Tafi's presentation focused on male Samoan children who are early identified as Fa 'afafine at UAA's Diverse Voices presentation.  I've read Middlesex.  My favorite documentary at the Anchorage International Film Festival last year was Prodigal Sons told by a woman returning to her rural home town for her 10th high school reunion who left for college after being the quarterback of his HS football team.  I'm sympathetic to the idea, but the male-female dichotomy is still one of the most rigid we have.  Homosexuality still causes many people grave distress.  The idea of being a woman and then a man or vice versa challenges our brains' flexibility.  We think it has to be either/or.

In the book - Two Truths and a Lie - Scott writes about coming up with this performance.

"Okay," my partner-in-crime S. Bear Bergman sighed as ze [sic] always does when calming me down on a late night, long distance phone call.  "So you have about 127 stories to tell and an hour in which to make sex change EASY, step-by-step."  I made notecards from memories, ruminated, and typed.  Then I found one of my old Choose Your Own Adventure books from elementary school.  Later, on tour in New York, T Cooper and Felicia Luna Lemus left Joe Meno's book The Boy Detective Fails by the couch they made up as a bed for me.  There I found the decoder ring.  With such random origins, how could I write any linear play?  The elements of chance that structured my process had to be reflected in the product.

Scott performs Two Truths and a Lie again tonight (Saturday) at 8pm at Out North.  Tickets at the door.  It will be a different performance from the one we saw because the audience isn't likely to choose the same numbers.

Now, as much as liked this, I think it could have been even better.  The lottery aspect of the audience choosing which scene he's going to play means there are a lot of missing parts and the actor doesn't know which scene is up next. 

Even with that caveat, Anchorage folks, what I'm saying here is WE'VE GOT THIS WORLD CLASS PERFORMER TELLING THIS MESMERIZING STORY AND NO ONE KNOWS IT.  So go now and see Scott.  In ten years when he's moved on and he's famous, don't kick yourself because you didn't see him 'way back when' in an intimate little theater in Anchorage before the world discovered him.

As Judith Jack Halberstam, Professor of English and Gender Studies at USC, wrote in the front of Scott's book,

Scott, it should be said up front and often, is simply a mesmerizing performer.  You could listen to his voice all night.  He has comic timing tattooed on his genes, and he can make the trip from irony to sincerity in 3 seconds flat. 

Why Cars Kill About 160 Moose a Year in Anchorage

We were coming home from Scott Turner Schofield's performance of parts of his book "Two Truths and a lie" at Out North tonight and the car in front of us turned soooooooooo slooooooooowly at the green arrow onto Northern Lights.


You can really tell who doesn't have studded tires, I was thinking.  Then as we were almost home another car put on his right turn blinker (that's good) and then turned into a cartoon slow motion car for half a block before the turn.  Then J said - there's moose.

 I was barely moving when the car turned right to reveal a moose and calf barely visible in the dark.    You can see why so many get hit.  Or maybe I should say you can't see.

I'm always amazed at how these huge brown animals can blend so well into their surroundings.  I've passed moose while jogging and not realized they were there until I sense something there, and look over to see one eating ten feet away as I pass.  It was a good thing the car in front of me took so long to turn right and I was barely moving.

Winter, finally

Thanksgiving Day

The wimpy snow followed by rain we've had haven't pushed us into a proper winter, but it looks like we're there thanks to a couple of Thanksgiving inches.  It finally looks and feels like it should. 

This first picture was on Thanksgiving Day.  The rest were today.

The bike path plow is busy near the new light on 36th at MacInnes.  I was skeptical about yet another light to slow down traffic on 36th.  Then when one of the traffic guys said, at a community council meeting, that most vehicles on MacInnes will now probably have to wait longer than in the past.  Time tests showed traffic breaks without the light came more frequently than the light will change.  GRRRR!  Once a few loud people get a project in queue it won't come off even when it doesn't make sense.  Maybe they could set the light so it will blink yellow on 36th and red for MacInnes most of the time, and then have the light when the traffic is really heavy between 4pm and 6pm when UAA is open.  But I'm not holding my breath.  It also means cyclists who want to cross at this point have to wait three minutes for the light to change or break the law.  Not good traffic policy.

Dormant Recessive Vampire Genes? Neckrophilia?

It's not neckrophilia because there's no sexual arousal involved at all.  So maybe I have some recessive vampire genes that make devouring the turkey neck - yes eating the flesh, there's no blood left to suck out - so irresistible.  Or maybe it's that the neck is the first part done.

Thanksgiving is like a vegetarian day of Lent.  We don't have to give up vegies entirely, but we are required to taste the flesh of dead animals so that we understand the fleeting pleasure the beast-like craving for animal flesh gives our regular meat eating friends and relatives and why they defend their heathen practice as 'normal.'

In fact I've found a sermon, Not Like the Beasts, that helps explain all this.

What does it tell us that, when faced with any attempt to make the case that this substance should be harder to get than it is, some reliable subset of defenders can be counted on to respond more like animals than like people? If such is not the very definition of addiction, what is?

It was the insight regarding the animal-response that has stuck with me since I first read this article. It’s not just, it seems to me, those enslaved to pornography who may lash out when their sin is exposed. No.

Instead, it seems to me that any of us is tempted to respond like that whenever the light encroaches on our dark places. And Satan is surely pleased that it can devolve us into beasts.

It may be an aspect of the mystery of lawlessness that causes us, at times, to respond not with gratitude but with (un)righteous indignation when our pet addictions, our personal idolatries, are exposed.

If we respond with disdain when our spending habits come under scrutiny, perhaps we’ve fallen into mammon-worship. If we respond with vitriol when our relationships are questioned, perhaps those relationships are inappropriate. If we respond with hatred when our particular political party is critiqued, perhaps we’re worshiping the wrong king.

And if one responds thusly to having one's carnivorous lusting pointed out, perhaps one is worshiping the destruction of life and gluttony. 

Enjoy your Thanksgiving turkey and remember, it gave its life to bring income to turkey farmers (not too much), agro-business (a lot), and retail food outlets (more than farmers), as well as satanic pleasure to your palate. 

And vegetarians, savor this date of eating flesh so that you are less judgmental of your flesh-eating brethren.  This is, for many, an addiction which they cannot escape, despite the cruelty suffered by so many of the animals they devour, despite the damage caused to the environment by factory farms and by the need to destroy forests to grow feed for the animals, despite the unnatural chemicals in the flesh they devour.  Show them understanding and lead them out of temptation, not through your own self-righteous nagging, but through your own good example.


tic