Snufmegology often references the totality of Snufmeg production in regards to two periods: those of the pre-1985 "American Snufmeg" and post-1985 "Universal Snufmeg" eras. The "American" period saw the origination of Snufmeg and the Cheese Mites, specifically, the "Universal Era" saw an expansion of not only the names of creators in and associated with Snufmeg, but a broadening of the aesthetic of what it means to be Snufmeg. While experts wrestle over the precise qualities which saitsfy to define it, the community of those who passed through the Snufmeg milieu grew as a result of the "Universal" experience. In this post, two wildly divergent examples of post-1985 Snufmeg production are presented.
First, the one-off "reunion" of Sin for a re-working of the Snufmeg repertory classic "Vomit Your Senses." Second, is the Johnny B Dub production of Baritone's (the late Dwayne Francis) "Brownskin Girls" demo, which continues the trajectory established in the "Persuasion" collection in the previous post. Both recordings were undated, but most circumstantial evidence places them between 1987-1989.
Showing posts with label Sin. Show all posts
Showing posts with label Sin. Show all posts
Monday, February 8, 2021
Wednesday, April 22, 2020
I Can Read About Any Book That Someone Gives Me
The eight song collection, probably from 1984, entitled "I Can Read About Any Book That Someone Gives Me", finds the Cheese Mites in two configurations. The first of these, Johnny B Dub & DJ Williwill, provides the four songs "The Rock Slide Rap," "Row Your Book," "Mega Funk," and "Jungle Fiasco." Building upon the frantic primitivism of "Experiment in Stupidity," the Cheese Mites recede from overt song craft, and regroup around improvisational oriented compositions. "The Rock Slide Rap" pays lyrical homage to the song "Rock Slide," originally recored by Sin, but also recorded by other forms of the 'Mites. The relentless tape looped drum beat both hypnotizes and drills into the psyche, providing an unsettling and pulsating figure over which echoes, vocals and a proto-funk bass line collude in twelve minutes of irritation, a trademark of much of the 'Mites recorded output. "Row Your Book" continues twelve more minutes of the motifs established by "The Rock Slide Rap." At this stage in their career, they were hellbent on daring the listener to stay.
The mercy of songs half the length in time as the previous two is little detected in "Mega Funk" and "Jungle Fiasco." A study of the production technique indicates the possibility of these two songs stemming from a separate session from the former two. Feedback washes, echoes, loops and unforgiving repetition, however, the hallmark of early Cheese Mites recordings, is not discarded with these recordings.
The second configuration in this collection is manifest in the four songs closing the tracklist. Joined by Flip (later to be in the Snufmeg related project, The Little Engine), the Cheese Mites sound more like a live band, than other, more recordings of a layered quality. For "Amen," "Are We Their Yet?" and "Ja Only Knows," Flip guests as drummer, competently providing a rhythmic foundation which Williwill tonally completes on bass. Unchecked by concern for melody or structure, Johnny's feedback and echo laden guitar provide harsh counter-balance. For "Funk You" Johnny and Flip switch roles, the result of which is the most traditional and tuneful piece in the entire collection.
The mercy of songs half the length in time as the previous two is little detected in "Mega Funk" and "Jungle Fiasco." A study of the production technique indicates the possibility of these two songs stemming from a separate session from the former two. Feedback washes, echoes, loops and unforgiving repetition, however, the hallmark of early Cheese Mites recordings, is not discarded with these recordings.
The second configuration in this collection is manifest in the four songs closing the tracklist. Joined by Flip (later to be in the Snufmeg related project, The Little Engine), the Cheese Mites sound more like a live band, than other, more recordings of a layered quality. For "Amen," "Are We Their Yet?" and "Ja Only Knows," Flip guests as drummer, competently providing a rhythmic foundation which Williwill tonally completes on bass. Unchecked by concern for melody or structure, Johnny's feedback and echo laden guitar provide harsh counter-balance. For "Funk You" Johnny and Flip switch roles, the result of which is the most traditional and tuneful piece in the entire collection.
Saturday, March 24, 2018
Experiment in Stupidity (Part 1)
The exact date of this debut compilation is hotly disputed amongst the faithful in Snufmeg. Ambitious chroniclers place it in 1979. Those with a more conservative view of events date it no later than 1981. Regardless of the precise date, this collection marked the beginning of the "American" era of the Cheese Mites, lasting until 1985.
The true collection, in cassette format, consisted of the songs: "Love", "Sex", "War" and "Music". These were created all within the same session. A later, modified collection included "Hey, Saul". The collection assembled for the Bandcamp website consists of the first four songs, the first official Cheese Mites recording of "Vomit Your Senses", and the regrettably low fidelity recordings, even by Snufmeg standards, of four more songs by the Cheese Mites with special guest Edmund (aka Fish Sticks), on percussion and voice.
It is upon the "true four," however, that Experiment in Stupidity earns it's merit. "Love" is a primal, reverb-soaked voice and drums assault with few comparatives in the Snufmeg canon. The lyrics are cloaked in effect, shrieked and croaked. Few words are comprehensible, save fleeting descriptions of decay and misery, when finally Johnny B Dub screams "And where is love?" One hardly gets the impression he is serious in his quest; not that he is mocking it, more like he has just given up. Propelling the song to it's merciful end at 1:33, Williwill pounds a jerky, untimed beat, accenting occasionally with a moan of mockery.
The ambience continues to drip with reverb, echoes and noise. A more subdued vocal performance follows with "Sex", although no sensual sensitivity caresses the ears of the listener. Echoed guitar, spastic drumming and squeals of feedback, the apparent hallmarks of EiS, complete the arrangement. The lyrics are a juvenile stab at a psuedo-poetic stream of veiled sexual innuendos, outright offensive imagery and a childish, backwards view of intimacy. Though free of obscenity, the redeeming value found here is that it was a cathartic exercise on a topic the participants had little to no business in examining.
Suddenly, the tone shifts. The quasi-martial introduction to "War" oozes in mockery. An apparent musical sense was adopted for this song, although shortly after establishing on one theme, another is selected. The lyrics are, again, virtually undecipherable, yet, there sounds as if there is an urgency underlying the vocalization. Then, for no apparent reason, the song ends softly, with a jazz inflection.
The fourth song, ironically titled "Music", is an epic length (17:25) excursion with guitars, drums, feedback squeals, tape loops, echoes, and reverb. For all of the "experimentation" and dissonance, "Music" never truly repels or alienates the listener, so long as one puts aside an expectation of traditional harmony and melody - of which there is none. There is a continues sense that something is going to happen, a quarter hour of foreplay.
Departing from the "true four" of the EiS collection, but continuing as directed by digital compilations, is the Snufmeg standard "Vomit Your Senses." Although, often erroneously credited as a Cheese Mites original, this song found its first iteration on the "Live at the Lyle Garage" collection by Sin from 1978. As often was the case for the Cheese Mites, restatement and repurposing became a mode of creation, and it was first established with this cover of VYS. Where the Sin original intended to establish a rock type song with traditional style and credibility, though falling well short, the Mites version built upon the mode of the EiS true-four with noise and chaos, and paired it with (questionably) traditional song structure. The inclusion of VYS in this early collection broadens the scope of what the Cheese Mites were to later venture into. From a free/noise structureless base, they now pointed to standard song form.
The final four (the back-four) songs of the digitized collection were originally from an unnamed compilation. Culled from a session with special guest Edmund, these incredibly poorly recorded songs showed the Mites in a less frantic mood. There was still a loose, free-form manner. The pretense of poly-rhythms make the continuing thread throughout "The Bad Fish," "We Two Three," "The Big Ocean," and "A Pond of Our Own."
This will be continued in the next installment.
Sources:
https://thecheesemites.bandcamp.com/album/experiment-in-stupidity
The true collection, in cassette format, consisted of the songs: "Love", "Sex", "War" and "Music". These were created all within the same session. A later, modified collection included "Hey, Saul". The collection assembled for the Bandcamp website consists of the first four songs, the first official Cheese Mites recording of "Vomit Your Senses", and the regrettably low fidelity recordings, even by Snufmeg standards, of four more songs by the Cheese Mites with special guest Edmund (aka Fish Sticks), on percussion and voice.
It is upon the "true four," however, that Experiment in Stupidity earns it's merit. "Love" is a primal, reverb-soaked voice and drums assault with few comparatives in the Snufmeg canon. The lyrics are cloaked in effect, shrieked and croaked. Few words are comprehensible, save fleeting descriptions of decay and misery, when finally Johnny B Dub screams "And where is love?" One hardly gets the impression he is serious in his quest; not that he is mocking it, more like he has just given up. Propelling the song to it's merciful end at 1:33, Williwill pounds a jerky, untimed beat, accenting occasionally with a moan of mockery.
The ambience continues to drip with reverb, echoes and noise. A more subdued vocal performance follows with "Sex", although no sensual sensitivity caresses the ears of the listener. Echoed guitar, spastic drumming and squeals of feedback, the apparent hallmarks of EiS, complete the arrangement. The lyrics are a juvenile stab at a psuedo-poetic stream of veiled sexual innuendos, outright offensive imagery and a childish, backwards view of intimacy. Though free of obscenity, the redeeming value found here is that it was a cathartic exercise on a topic the participants had little to no business in examining.
Suddenly, the tone shifts. The quasi-martial introduction to "War" oozes in mockery. An apparent musical sense was adopted for this song, although shortly after establishing on one theme, another is selected. The lyrics are, again, virtually undecipherable, yet, there sounds as if there is an urgency underlying the vocalization. Then, for no apparent reason, the song ends softly, with a jazz inflection.
The fourth song, ironically titled "Music", is an epic length (17:25) excursion with guitars, drums, feedback squeals, tape loops, echoes, and reverb. For all of the "experimentation" and dissonance, "Music" never truly repels or alienates the listener, so long as one puts aside an expectation of traditional harmony and melody - of which there is none. There is a continues sense that something is going to happen, a quarter hour of foreplay.
Departing from the "true four" of the EiS collection, but continuing as directed by digital compilations, is the Snufmeg standard "Vomit Your Senses." Although, often erroneously credited as a Cheese Mites original, this song found its first iteration on the "Live at the Lyle Garage" collection by Sin from 1978. As often was the case for the Cheese Mites, restatement and repurposing became a mode of creation, and it was first established with this cover of VYS. Where the Sin original intended to establish a rock type song with traditional style and credibility, though falling well short, the Mites version built upon the mode of the EiS true-four with noise and chaos, and paired it with (questionably) traditional song structure. The inclusion of VYS in this early collection broadens the scope of what the Cheese Mites were to later venture into. From a free/noise structureless base, they now pointed to standard song form.
The final four (the back-four) songs of the digitized collection were originally from an unnamed compilation. Culled from a session with special guest Edmund, these incredibly poorly recorded songs showed the Mites in a less frantic mood. There was still a loose, free-form manner. The pretense of poly-rhythms make the continuing thread throughout "The Bad Fish," "We Two Three," "The Big Ocean," and "A Pond of Our Own."
This will be continued in the next installment.
Sources:
https://thecheesemites.bandcamp.com/album/experiment-in-stupidity
Saturday, May 20, 2017
Snufmeg and the Year 1978
The year 1978 marked the beginning of a phase of creativity for Snufmeg, and the Cheese Mites, in which the scope was to broaden considerably in setting the foundation for future endeavors. WK built upon the discoveries made in previous years, and Johnny B Dub established a presence by creating material which would define major aspects of the Snufmeg craft. Although known to one another, this period finds them converging from separate paths, pursuing a vision which became the bedrock of Snufmeg.
While 1978 holds remarkable importance, there still is doubt regarding the creation date of some of the material. "Cartoon Music," a cassette single released by Williwill, in all likelihood was created prior to 1978, and certainly not later. This piece is a short study of sounds and motifs meant to accompany the visual representation of animated behavior. Culled from pre-existing sources, Williwill champions techniques and modes later crassly aped by others for the mere purpose of remunerative exploitation. However, as in all things Snufmeg, the framework for development transcends that of general commercial technique.
Lesser known was the composition "Radio Noise," found on the WK "Rarities and Friends" compilation. It was mysteriously uncredited and undated, although some experts have concluded that it was an early electronic experiment by Johnny B Dub from around the 1978 era. It is a brief development of a chord from electronic generators, which turn wildly into a menage of atonality.
In Snufmeg lore, if "Cartoon Music" is a pinnacle of 1978, it's sister peak is found in "Vomit Your Senses." Written in February of that year, "Vomit Your Senses" (also know simply as "VYS") takes the raw simplicity of a rock music motif and combines it with a lyrical exploration of decay and cultural crapulence. It quickly became a standard in the community, as an expression of frustration at the most primal level. The earliest recorded version of VYS was in the collection "Live from the Lyle Garage" by Sin. This recording reflects Sin in its most primitive condition, Johnny B Dub and JP, sharing duties on vocals and various guitars. Included alongside VYS are an unfortunately edited version of "Rock Slide," full length versions of "Please Wait," "Black Suger,"(sic) and the near-epic length "She's All Alone." With the exception of "Black Suger," all pieces from this collection have found comfortable inclusion as Snufmeg traditionals.
There was no shortage of material from 1978 to be found in the classic "History of WK" compilation. In addition for the previously noted "Backwards Tape" and "Delay," the year found such gems as "Blues Progression," "Backwards Trumpet," "Psychedelic Song," and two different songs entitled "R&B/Hard Rock." Also from that year was "Backwards Bells," "Avant Garde Drum Solo," "Avant Garde Bells Solo," "Guitar Solo," "Avant Garde Drumming," and the "Backwards Bells Variations," all found on the WK compilation "Rarities and Friends." Other selections are found in various authorized compilations.
The groundwork was being set. The two greatest members of the community, WK and Johnny B Dub, were preparing the creative paths which soon would find them in a collaboration spanning decades, musical styles, philosophies and disciplines - the Cheese Mites.
Sources:
https://snufmeg.bandcamp.com/album/pros-jam-with-pros-the-snufmeg-scene-compilation-featuring-the-cheese-mites
https://snufmeg.bandcamp.com/album/cartoon-music
https://snufmeg.bandcamp.com/album/rarities
https://snufmeg.bandcamp.com/album/live-at-the-lyle-garage
While 1978 holds remarkable importance, there still is doubt regarding the creation date of some of the material. "Cartoon Music," a cassette single released by Williwill, in all likelihood was created prior to 1978, and certainly not later. This piece is a short study of sounds and motifs meant to accompany the visual representation of animated behavior. Culled from pre-existing sources, Williwill champions techniques and modes later crassly aped by others for the mere purpose of remunerative exploitation. However, as in all things Snufmeg, the framework for development transcends that of general commercial technique.
Lesser known was the composition "Radio Noise," found on the WK "Rarities and Friends" compilation. It was mysteriously uncredited and undated, although some experts have concluded that it was an early electronic experiment by Johnny B Dub from around the 1978 era. It is a brief development of a chord from electronic generators, which turn wildly into a menage of atonality.
In Snufmeg lore, if "Cartoon Music" is a pinnacle of 1978, it's sister peak is found in "Vomit Your Senses." Written in February of that year, "Vomit Your Senses" (also know simply as "VYS") takes the raw simplicity of a rock music motif and combines it with a lyrical exploration of decay and cultural crapulence. It quickly became a standard in the community, as an expression of frustration at the most primal level. The earliest recorded version of VYS was in the collection "Live from the Lyle Garage" by Sin. This recording reflects Sin in its most primitive condition, Johnny B Dub and JP, sharing duties on vocals and various guitars. Included alongside VYS are an unfortunately edited version of "Rock Slide," full length versions of "Please Wait," "Black Suger,"(sic) and the near-epic length "She's All Alone." With the exception of "Black Suger," all pieces from this collection have found comfortable inclusion as Snufmeg traditionals.
There was no shortage of material from 1978 to be found in the classic "History of WK" compilation. In addition for the previously noted "Backwards Tape" and "Delay," the year found such gems as "Blues Progression," "Backwards Trumpet," "Psychedelic Song," and two different songs entitled "R&B/Hard Rock." Also from that year was "Backwards Bells," "Avant Garde Drum Solo," "Avant Garde Bells Solo," "Guitar Solo," "Avant Garde Drumming," and the "Backwards Bells Variations," all found on the WK compilation "Rarities and Friends." Other selections are found in various authorized compilations.
The groundwork was being set. The two greatest members of the community, WK and Johnny B Dub, were preparing the creative paths which soon would find them in a collaboration spanning decades, musical styles, philosophies and disciplines - the Cheese Mites.
Sources:
https://snufmeg.bandcamp.com/album/pros-jam-with-pros-the-snufmeg-scene-compilation-featuring-the-cheese-mites
https://snufmeg.bandcamp.com/album/cartoon-music
https://snufmeg.bandcamp.com/album/rarities
https://snufmeg.bandcamp.com/album/live-at-the-lyle-garage
Monday, May 15, 2017
Exploration of "WK - The Early Years" Part III
The urge to post an entry per song, great though it may be, must be managed for the sake of coherence. Certainly, some compositions will require more particular and in-depth analysis, but others can be quickly grouped for convenience sake. This is not to say that a piece, such as "Backwards Tape 1977" can't withstand a singular dissection. Rather, some works speak better when grouped with similar sounding, or when similar constraints and conditions apply.
Speeded up Stuff (1976) (also known as "Weird SFX")
Weird Audio Collage (1976)
Avant Garde (1977)
Backwards Tape (1978)
Delay (1978)
This is best illustrated, following the singular assessment of "Piano Duet," in the following works, all from "The History of WK":
Guitar and Drums (1975)
Speeded up Stuff (1976) (also known as "Weird SFX")
Weird Audio Collage (1976)
Avant Garde (1977)
Backwards Tape (1978)
Delay (1978)
Each of these six unique compositions expanded upon the technique of recording and manipulation established in the "Piano Duet" remix, and foresaw the role technical expertise and experimentation in recording and production were to play, in addition to classically traditional musical instrumentation finesse, in the palette of Snufmeg related music. From one to the next, a considerable honing of mysterious craft is developing, wherein the germ of creativity is gaining density like mass for a big bang. Missing from these works is the talentless nihilism of so many experimenters, the shallow and transparent craving for attention without voice, story or abstract concept. WK occupied a space where the traditional and non-traditional were never at odds. Rather, they propelled each other in a state of constant forward motion, free of the fetish of the concept of progress; a voice to ring and harmonize the mysterious frequency of the universe, the unknown. The middle section of "Weird Audio Collage" exemplifies such harmoniousness. The piece is introduced with wistful sweeps of tone, an exalting breath is manifest in pause, and what follows is a brief cadence of violin, drums and guitar, rhythmically celebrating the firmament, only to be overtaken by the churning anguish of an unsettled unknown. Likewise, "Avant Garde" (1977) is a prayer of harmonious exploration, modal and tonal. It is easy to overlook these transcendent yearnings impressed in recorded medium when one is bombarded by mercantilism. It is crucial to bear in mind the purity of purpose, the truly precious and sanguine nature of these compositions as artifacts of a culture and community, Snufmeg.
The theme of Snufmeg recurs throughout the body of work of its adherents, WK, the Cheese Mites, to name a few. At the time of these early recordings, however, Snufmeg was not revealed, although its acolytes were converging, called by a voice they could not hear, much less know how to call it. The Spirit of Phynqafis filled all, yet hidden he was. The time for Phynqafis was still years to be. The groundwork set by WK was prophetic.
Of special note, however, is "Delay." This piece marks a shift in creative channels. An overt influence of blues is noted, which has a profound effect on the basis of much of the Snufmeg catalog. The melding of blues with experimentalism forms the backbone for compositions for years to come, some swaying one way, and conversely.
Additionally, "Delay" is significant not only for its content but the context of its creation. This year (1978) finds Snufmeg creativity launching into a new era. WK continues to create and record, as does Johnny B Dub with the unabashedly post-sixties rock influenced ensemble, Sin.
https://youtu.be/WQIK40WJ85c
https://youtu.be/lBH6yY9oWy4
https://youtu.be/oq1MXWkTDIs
https://youtu.be/jDPlmxWLkVM
https://youtu.be/mx5-nJZjcWE
https://youtu.be/ZbNPZzZ5sQ4
Of special note, however, is "Delay." This piece marks a shift in creative channels. An overt influence of blues is noted, which has a profound effect on the basis of much of the Snufmeg catalog. The melding of blues with experimentalism forms the backbone for compositions for years to come, some swaying one way, and conversely.
Additionally, "Delay" is significant not only for its content but the context of its creation. This year (1978) finds Snufmeg creativity launching into a new era. WK continues to create and record, as does Johnny B Dub with the unabashedly post-sixties rock influenced ensemble, Sin.
https://youtu.be/WQIK40WJ85c
https://youtu.be/lBH6yY9oWy4
https://youtu.be/oq1MXWkTDIs
https://youtu.be/jDPlmxWLkVM
https://youtu.be/mx5-nJZjcWE
https://youtu.be/ZbNPZzZ5sQ4
Friday, May 12, 2017
Thoughtful Entry for 13 May 2017
Snufmeg is.
It is a tent, so to speak.
The biggest pole holding up that tent is the Cheese Mites.
Phynqafis fills all.
Snufmeg was before Snufmeg became, and the Cheese Mites were of Snufmeg before they were the Cheese Mites and before Snufmeg was. Phynqafis was before Phynqafis was, and before all, because Phynqafis was before all, and yet one day long after Phynqafis was, Phynqafis became Phynqafis, as Snufmeg became after Snufmeg was.
As you follow this twisted road, you will find a warp in time where things and entities were before they became. That is in the Spirit of Phynqafis, and that is the nature of Snufmeg.
The shining light in Snufmeg, and in the Spirit of Phynqafis, is the Cheese Mites. They are, chiefly, Williwill and Johnny B Dub.
For the sake of those who lack an ability to grasp that which is ungraspable, we shall mark and peg the moment (approximately) in 1964, with the physical birth of Williwill, and the Johnny B Dub. There also is a beginning in 1975, as found in "The History of WK." Also a beginning is found in "Live at the Lyle Garage" by Sin from 1978. These dates, however confuse matters.
"The History of WK" lists 1975 as the year farthest back, although scholars believe 1974 is a more realistic date. Nonetheless, taking 1975 as the earliest recording of note, the trajectory of the Cheese Mites and Snufmeg, in the as yet unnamed Spirit of Phynqafis, was set. No recording holds the germs for life as strongly as held in the "Piano Duet" recordings.
Musicologists will debate the unquestionable importance in the canon of late Twentieth Century music, its simple motifs, the profound influence of the technologically enhanced variations. In it, quite simply, all music flows, as if a prismatic filter bending the rays of abstraction into pressurized variabilities savored by the auditory sense. Certainly all music afterwards, particularly by those in the shadow of Snufmeg, owes deference to the "Piano Duet" recordings.
Sources:
https://youtu.be/9L4Vr09zzHk
https://youtu.be/4KaDt7hVrd8
https://snufmeg.bandcamp.com/album/the-history-of-wk-1975-to-1982-part-1-the-early-years
It is a tent, so to speak.
The biggest pole holding up that tent is the Cheese Mites.
Phynqafis fills all.
Snufmeg was before Snufmeg became, and the Cheese Mites were of Snufmeg before they were the Cheese Mites and before Snufmeg was. Phynqafis was before Phynqafis was, and before all, because Phynqafis was before all, and yet one day long after Phynqafis was, Phynqafis became Phynqafis, as Snufmeg became after Snufmeg was.
As you follow this twisted road, you will find a warp in time where things and entities were before they became. That is in the Spirit of Phynqafis, and that is the nature of Snufmeg.
The shining light in Snufmeg, and in the Spirit of Phynqafis, is the Cheese Mites. They are, chiefly, Williwill and Johnny B Dub.
For the sake of those who lack an ability to grasp that which is ungraspable, we shall mark and peg the moment (approximately) in 1964, with the physical birth of Williwill, and the Johnny B Dub. There also is a beginning in 1975, as found in "The History of WK." Also a beginning is found in "Live at the Lyle Garage" by Sin from 1978. These dates, however confuse matters.
"The History of WK" lists 1975 as the year farthest back, although scholars believe 1974 is a more realistic date. Nonetheless, taking 1975 as the earliest recording of note, the trajectory of the Cheese Mites and Snufmeg, in the as yet unnamed Spirit of Phynqafis, was set. No recording holds the germs for life as strongly as held in the "Piano Duet" recordings.
Musicologists will debate the unquestionable importance in the canon of late Twentieth Century music, its simple motifs, the profound influence of the technologically enhanced variations. In it, quite simply, all music flows, as if a prismatic filter bending the rays of abstraction into pressurized variabilities savored by the auditory sense. Certainly all music afterwards, particularly by those in the shadow of Snufmeg, owes deference to the "Piano Duet" recordings.
Sources:
https://youtu.be/9L4Vr09zzHk
https://youtu.be/4KaDt7hVrd8
https://snufmeg.bandcamp.com/album/the-history-of-wk-1975-to-1982-part-1-the-early-years
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