[music playing] etana: how you doing? you all right? if you feel all right,let me hear you say yeah! audience: yeah! [music - etana, "jah chariot"] etana: you love reggae music? [music - etana, "reggae"] etana: and oftentimeswhen you hear this,
the ladies are movingthe waistline like that. yeah. the men are usually-- [music - etana, "mocking bird"] etana: yeah! a lot of people like to talk. that's what they do. every day. and you know what?
[music - etana, "people talk"] etana: you still feel good? say yeah! etana: now, this next song isa tribute to the great gregory isaacs. if you don't know him, he'slike a huge reggae icon that's loved all over the world. and do the rock thati taught you earlier. let's go.
[music - etana] etana: now, thisnext song-- thank you-- is from the fourthalbum coming out-- well, upcoming album that's beingreleased tomorrow, on the 28th. it's called love song. it's about unconditional love,meaning loving that person regardless of the thingsthey do, say, look like, eat, whatever. just loving themunconditionally.
ready? [music - etana, "love song"] etana: now, this oneis from an album that was released already, butit's a real love song. a real one. [music etana ft. alborosi, "blessing"] etana: now, this oneis called "wifey," and it's for the ladieswho know they bad,
whether they havethe ring or not. [music - etana, "wifey"] etana: i'm anointed fromthe crown on my head to the soles of my feet. fear no one. i love you unconditionally,no matter what you believe in, whatyou wear, what you eat, where you stay, where youlive, where you sleep. i just love you as a person.
and when i look at the world,wherever i go across the world, i want everyone in the worldto look at me as a person. unconditional love frommy heart to all of you. one perfect love. [music etana, "i am not afraid"] etana: i'm not afraidof what i look like. i'm not afraid of where i live. i'm not afraid to tellyou where i'm from. i'm not afraid of being me.
i'm not afraid of being happy. or what they callso-called embarrassed. doesn't bother me. cause peoples' negative opinionof me is none of my business. i have no fear. period. and so me-- female speaker: so welcome. etana: thank you.
female speaker: how are you? etana: i'm grateful and happy. female speaker: yeah. your album comes out in what,like, less than eight hours? etana: i know, right? i'm so excited, i can't--i just can't wait. female speaker: well, we'rethrilled to have you here. and i've got as many questionsas you can sit through, so you just tell me.
just want to start off,for people that may not be familiar withyou, do you just want to tell them alittle bit about yourself, and your background, andhow you got into music? etana: well, i'm fromkingston, jamaica, in a small towncalled august town. and when you say augusttown, a lot of people go, oh. you know? because it used to be a happyplace, but i guess politics,
turf war, violence hasturned it into someplace that people shyaway from, you know? i started reggaelike, probably 2005, i was a backup singer for amale artist called richie spice. and from then, i rememberone day he got really ill, and they wanted tokind of like, you know, kill some of thetime, the performance time. so they were like, go. sing.
sing some songs. and i had to kind ofcome up with stuff to sing for 15 minutes. well, that's all i could do is15 minutes, because i didn't have anythingrehearsed, or anything. female speaker:what did you sing? etana: i did lauren hill songs. i did "rastamanchant." [singing] "i hear the sound ofa rasta man sing."
you know, stuff like that. and ever since that day, itwas like a thing for me, now. like i had to go andopen for him every night. and people keptasking who i was, and that's where it started. female speaker: andhow old were you then? etana: wow. like-- female speaker: notto call you out, but--
etana: i was probably like, 22. 21. female speaker: and wereyou going by etana, then? so it-- etana: no. it was just shauna. female speaker: ok. etana: i changed it later. tell people about theorigin of your name, etana.
etana: shauna means pretty,as the given name, right? but i feel like women arebeautiful all over the world, but we don't always rememberhow powerful we are. and so i said iwanted a name that would remind every womanwhen they see the name, they know, ok,that applies to me. i'm strong, i'm powerful. i can do this. and so i found the nameetana, in swahili it
means the strong one-- and isaid ok, well, that's the name. so every time they--women see the name etana, know it applies to all of you. female speaker: all right. etana: yeah. female speaker: i like that. so when you weregrowing up in jamaica, who were some of your,like, biggest influences? the people that inspired youthe most to get into music?
a lot of people. my mom used to listen tocountry music every sunday. female speaker: really? etana: yes. female speaker: like,american country music? etana: country music. country country. female speaker: like billyray cyrus country country, or like--
etana: like tammywynette country, like dolly parton country. yes. etana: and then as i grewup, i would listen to like, bob marley, sizzla kalonji. even air supply, i was like,a big fan of air supply music, all the way up to now. whitney houston, mariahcarey, and stevie wonder. a broad, you know,range of people.
of course bob marley, bobmarley, bob marley, bob marley. female speaker: soyou moved to the us with your family at arelatively young age, and you went toschool to be a nurse. etana: right. female speaker: sohow did you transition from wanting to be a nurseto decide that you wanted to pursue singing as a career? etana: well, i alwaysused to love singing,
i just never thoughtthat i would be a singer. etana: you know? and i remember beingin psychology class, and i was so bored everyday, because it sounded like another languagealtogether, and i was bored. and so i would write poetryin the class, you know? and i was talking toa friend of mine who-- he lives on south beach,and i said, you know what? i'm just so tired of comingfrom school, going to work,
doing the same thing. sending a fax, emails,turning lights on and off. it's boring, you know? and he, said, wellyou could sing. and there is a guylooking for a black girl to join for a girl group. so maybe i should do yourmakeup, take you down there, and, you know, youdo the audition. and i said ok, well, idon't have anything to lose,
and i went down there, andi got in on the same day, surprisingly. female speaker: nice. so you were in this girlgroup for a little while. etana: like about two years. female speaker:it wasn't really-- wasn't really your thing? etana: well, i hadfun with the girls. i liked the shopping part.
female speaker: oh, yeah. etana: and i loved the factthat we lived in one house. that we had to dochoreography together. but i hated the fact that we hadto work out seven days a week, eat nothing but seaweedand salmon, or cereal. and water, no juice,no cakes, no nothing. female speaker: no jerk chicken? etana: no jerk chicken. forget that, you know?
and the main thing was thati couldn't express myself the way i wanted to. like, i couldn't write any song. you had to sing what wasgiven, wear what was given. i'm talking aboutshoes, and everything. you couldn't do yourhair without them approving your look. female speaker: very packaged. like, it was like the boy bands?
etana: we had to justfit in all the time. female speaker: liken*sync, britney spears era? like lingerie,stiletto heel wearing. female speaker: oh, andyou didn't like that? etana: no, because i rememberdoing choreography one day, and the camera guy had thecamera so low-- like, he had it in this angle, looking up atme, and i had on thong lingerie, see through, withstiletto heels. and i have to dothis choreography
where i have toturn to the side. female speaker: alittle grinding. etana: i was like, no. ok? no. and i-- female speaker: it's invasive. etana: very. and i said, you know what?
yeah, i look really good. you're beautiful. like, this is just wicked. and for some, it's likechance of a lifetime. you don't just walk off. and i decided after a whilethat it wasn't for me. and they cried, and theycried, and they screamed, and we fought. female speaker:well, that must have
made you feel good,though, that-- female speaker: theyvalued that much that they were gonnacry, and scream, and fight for you to be there. etana: well, yeah. i mean, yeah, but then istill-- i even thought that we could've-- we write. we wanted to sing whatwe wanted to sing. we were never evengiven that chance.
female speaker: well, let'stalk about happier times. female speaker: let's talk aboutyour fourth problem, i rise, which, again, comesout in less than a day. where did you writeand record that, and what was theinspiration for this album, as opposed to someof your older albums, and what was that like for you? etana: well, the album wasrecorded in jamaica, with, like, the-- well, one ofthe top produces, if not
the top producer. female speaker: oh, don'tsell yourself short. don't sell yourself short. etana: if not the topproducer in jamaica right now. he's been around for years. did songs with some of the bestrock stars that you may know. and reggae, too, as well. clive hunt is a genius,and if you've ever watched, like, the mad scientistmovies and see how they act,
that's just clive. etana: but he's smart, you know? and i wanted themusic to sound live. i wanted it to be big. i wanted everything aboutthis album to be massive. so it this that-- i know yourecorded your previous album at the tuff gongstudios in jamaica. was this at the same one? we did this album inclive hunt's space,
and at a small studio calledbarbed wire music studio. he's a young producertoo, as well, of a band called[inaudible] in jamaica. a very gifted,seriously gifted-- right on. so for the people that aren'tnecessarily familiar with tuff gong, it was started by thewailers back in the 1960s, and it produced a lot ofreally well known songs, like "redemption song--"
female speaker: "stir it up." etana: all of thebob marley songs. female speaker:all the good ones. all of them. so what was it like recordingand working in that space? did you-- etana: i rememberthe first time when i had to sing in thatstudio, and there was a guy in the studio--a man-- older chinese man.
i forgot his name, but henever comes out of the studio. he would be the one that wouldalways take care of bob marley, take care of theinstruments in the studio. he flew from china just tobe-- or from japan, i'm sorry. flew from japan to bewhere bob marley was. and up to this day,he's still there. female speaker: lives there? etana: he lives in the studio. female speaker: wow.
etana: he never comes out. and that day when i wassinging, he came out, and everybody waslike-- you know? female speaker:you unearthed him. etana: like, you're out? oh my god, you know? and everybody waslike, he's out. he's out. but it was very, verywarm to see him come out
and help the musicians,to make sure-- just like he didfor bob marley-- to make sure the instruments andeverything was sounding great. female speaker: very cool. female speaker: andyou recently came off of the the jamrock cruise? jam to-- etana: now, that--the jamrock cruise. female speaker: jamrock cruise.
etana: that was amazing. female speaker: which isheaded by damian marley? female speaker: so what wasyour experience with the marleys before then, and how wasthat cruise, and what did they try to-- did theyhave any advice for you, in terms of trying to breakthrough in america with reggae? etana: no, we neverspoke like that. i think every timethat we met, we were either rehearsingor recording.
you know, because i did somerecording sessions with stephen marley, and jr. gong,he was always serious. i see him sulking,like, you know? always very serious. but the idea of thecruise was amazing, because the cruise soldout in three weeks. like, they put it up, andit was down in a month. and i think they're going tohave to get a bigger ship. female speaker: a bigger boat?
etana: they're going to haveto get a bigger one next year. and they're probablygoing to have to have two, because even then peoplewere on facebook saying, does anybody have any tickets? does anybody have any tickets? because it wascompletely sold out. female speaker:that's incredible. etana: it's amazing. and one of the thingsthat i admired the most
is that when yougo to a festival, right, there's thisbig barrier, and there are thousands of people wayback there-- behind the barrier, though. on the cruise, everyoneis like, right there. and you take the shuttle, andpeople are in the bus saying, can we take a picture? because we'resharing the shuttle with the people on the ship.
we walk around on the ship, weeat next to our fans, you know? it's cool. really cool. female speaker:that's very nice. so, why do you thinkthat reggae hasn't really caught on in the usthe same way that it is in other parts of the world? because i mean, obviouslywhen bob marley was around, it eventually cameto the us after it
had exposure in europe. but since then, there reallyhasn't been much of a, i guess, popular reggaeculture in the us. so why do you think that'skind of died down, and made it more difficultfor reggae to be a more prominentgenre over here? etana: well, forsome reason i think that reggae is being shutoff mainstream radio. well, it has been shut offmainstream radio, period.
but there's this movementthat's-- well, for the past, i don't know, three, four years,that you have american bands who have sold outvanues across the us. i think they have itso locked down now that they're actually movingfrom the us to europe. so they're taking thereggae from here to europe. usually it's europeto america, right? etana: but the only thing isthat those bands are not-- most of them, they'restraight americans,
and not jamaican bands. female speaker: theblue eyed reggae. so i think-- no, butit's not for everybody. like, ok, what i mean by thatis if you tour a lot in the us, you will see the same people whosupport the american bands come out to support your show. because i've seen it. and they come outin the numbers. but you have to tourfor them to see you,
because you're noton mainstream radio. so they don't know. right? and it may be difficultfor jamaican bands to tour, because of visa,finances, or whatever it is. but nobody saidit should be easy. etana: so when ido it, i go hard. all right. female speaker: so i wasspeaking with your drummer
earlier before theshow, and we were talking about the differencesbetween reggae music in jamaica, and what'ssuccessful here in the us. and with reggae, verymuch so about the message, and commenting on theculture and politics, and it's more of like, a callto action than it is in the us, where it's a lotmore materialistic. it's a little bit more vain,it's a little bit more vapid. you know, it's interesting thathe said as well that in jamaica
now with reggaeartists, he feels like those americanideals in music have kind of been imposedupon the music and reggae, so that a lot ofartists are having to kind of stray from theroots of the reggae message, and incorporate these usideals into their songs in order to tryto be successful. so how do you--well, first of all, have you found it difficult tostay true to your core values?
female speaker: no. etana: no, but you know what? i feel that if you'retrue and real to yourself, then people will seethat, and they'll gravitate to your realness. you. but i think ifyou try to put on, that's when people are likeyeah, yeah, yeah, whatever. we've seen this before.
etana: i just feellike i'm being myself, and it's working for me. and i don't know howto be anything else. that's good. that's wonderful. so in that same vein,in terms of reggae and jamaican music ingeneral kind of drawing attention to different issues,political, social, cultural, what do you think isthe issue in jamaica
right now that reallydeserves the most attention? etana: education. and, yeah. education. that's it. i think it deserves the mostattention because people tend to overlookthe little ones. oh, they don't matter. they don't have a voice.
they can't speak. you know, they do whatwe say do kind of thing. because caribbeanparents are like that. you do what i say. shut up. etana: kind of thing, you know? but i think that it's timethat we listen and invest a lot more ineducation in jamaica. a lot of caribbeancountries, they
have free educationbecause they're still under the british rule,or the french, you know? but jamaica somewhatis still, but not when it comes to free education. so you have a lot ofchildren who stay home because of poverty, you know? and i think it doesn'tdo much for the economy, it doesn't do much forthe whole country itself. it's wrong to havethem kids sit there,
not know how to readand write, and grow up doing things thatsociety don't accept. or even put other peoplein fear because they're trying to survive thebest way they know how. and you've been in the us--so you live in florida now? female speaker: how longhave you been in the us for? etana: well, aboutthree years now. female speaker: three years. female speaker: sois there something
in particular in theus that you kind of think is an issue thatpeople are ignoring, musicians are ignoring,that they could speak out against in the same waythat reggae artists do? i know that's atough kind of like-- etana: well, if youlook at hip hop, you know, it's kind of like theyrap about what they see, right? i don't think there's much thatthey can do to change that. it just is what it is.
and when you-- i'm not surethat they could do anything about it, really. because if they stop rappingabout, you know, the b-i-t-c-h, and if the girls stop showingthemselves in the videos, do you think-- female speaker: money and cars. do you think that peoplewould still pay attention? female speaker:well, you know, we were talking about this earlier,about how someone like jay z
could be that person. i mean, this is putting-- etana: to make the change? female speaker: tomake the change. you know, someone that'sthat big in american culture, to try to step upand make that change, and really call attentionto things that people aren't seeing or doing, or-- etana: well, maybe.
female speaker:maybe it's tough. etana: because i've seenpeople like common and mos def, and they're not into thatstuff, but they're not as popular as the person whomay do the opposite, you know? female speaker: exactly. it's tough. it's a lot of-- you have tomake choices, and whether or not you want to be you and speakto the things that you value, or if you're, youknow, ok with letting
some of that go inorder to achieve a different kind of fame. etana: well, how i see itis that i wonder when they do these things, rapabout these things, or behave a certain way inthe media, how do they expect, or how-- i'm wondering if theirchildren, like if they have kids, if they get to watchtheir mom or dad do that on tv, and then how do they raisethem in the right way, to say ok, well, we'rejust doing that for show.
like, it's not real. we don't really do that. you know, i'm wonderinghow they deal with it. female speaker: howthey, like, instill values in them that are-- etana: that are right and true. female speaker: so stickingwith the reggae theme, and the differencebetween things in the us and there-- i mean,you're arguably,
like, one of the most notablefemale reggae artists, you know, today. female speaker: andfor a long time now. thank you. female speaker: you know, themost visible, prominent, lovely reggae artist. female speaker: wasit difficult for you to find your footing in a genrethat's predominately male? female speaker: yeah?
etana: of course. like, you would sometimes--there was a time when females were on the bill for theshow, and they would show up, and they kind ofshoved them off. and, oh, it's not your time yet. and then when they call themon, like sometimes a male will come on the stageand, yeah, my time now, and grab the micand start singing. so they didn't, you know,like, a fair chance to perform.
so what we did at 5thelement at the time is they had a manwalk me up on stage. a man would block thestage on both ends. nobody was able to walkup on my stage ever, and they would have aman walk me off stage, walk my guitar on, walkmy guitar off, you know? kind of teach themhow to treat me. etana: and that's what i did. i taught them how to treat me.
and so i feel like i stillhave-- we still have a long way to go, because women ingeneral all over the world, sometimes we're not looked uponas the same or equal to a man. so we're at times paidless, given awkward jobs, and stuff like that,even though we're qualified to do-- overqualified, sometimes, to do what the man might do. and it's the samething with reggae. and so i think westill have a long way
to go, but as far asrespect and billing me as a headliner and stufflike, i don't have any issues. well, i think we canall appreciate that. i mean, the image thatyou're putting forth, even just in the name thatyou chose, and the song strong jamaican womanfrom your new album, it's really encouraging tohear that kind of stuff. there's a lot of femaleartists out there who speak aboutbeing a woman, but i
feel like you're one of the morehonest and heartfelt artists out there that are doing that. female speaker: so ithink it's wonderful. female speaker: do youconsider yourself a role model? is that important to you? etana: well, you know, i justlive my life the best way i know i can. and i like to sleep wellwhen i do go to sleep. etana: so i try my bestto do good wherever i go,
and live my life in such a waythat i create better tomorrows. female speaker: ifeel like that's a very intimidating title fora lot of female musicians, and-- well, moresofemale than male, to be seen as a role model. because it puts a lotof pressure on you in terms of if youmake a misstep, and-- at times, like, ifsomething goes wrong, and you feel likeyelling or cussing.
female speaker: uh-huh. etana: like, i kindof have to hold it, go inside somewhere wherethere's just me and my manager or somebody, and thenscream, you know? etana: because then ifi do, then other people look at me like,etana said that. female speaker: it'shard to have a filter. so i kind of-- i don'tdisplay it that much. and i don't put myself inpositions where i know.
and if somethingarise, i deal with it with as muchdiplomacy as possible. so how do you stay calm? how do you stay positive? etana: i just stay laughing. etana: i just laughat everything. female speaker: you gota lot of good jokes? seriously, i'm always laughing. female speaker: well,we need to hang out
more often, then, sothat i can do that, too. female speaker: ok, switchinggears just a little bit here, getting towardsthe end, i wanted to ask you aboutyour line of jewelry, and your skirts, andyour organic soaps. female speaker: are you wearingany of your line right now? etana: well, let me see. female speaker: what? how could you come here withoutwearing your own jewelry?
etana: you know what? i had them on for the pastthree shows that we did, and for some reasontoday i didn't. i didn't. i don't know why. but people are always asking me,where did you get that skirt? where did you get that earring? where did you get, youknow, that bracelet? and i figured-- and onfacebook people say,
ok, don't tell me whereyou got that skirt, tell me where you got the fabric. or tell me who made it, so ican have them make it, you know? so i decided i'm justgoing to have these stuff, make these stuff, and havethem available for people who want to purchase these. but i have younggirls who may find it hard to find jobsin jamaica, right? seamstresses.
very talented. and, you know, iuse the skirt line as a job opportunity for them. so it's like womanhelping woman. so they make the skirts, andwomen outside buy the skirts. female speaker:that's wonderful. female speaker: i like thatyou keep it at home like that. that's very, very admirable. but next time, bring some ofthose things here so we can--
etana: the jewelry, too. the soaps, too. same thing, like, thegirls make the jewelry. sometimes i do the jewelrywhen i do have my free time. because i love to paint, andso i have hand painted jewelry. my husband, too. like, we all getinvolved, you know? it's a family thing. it's love, and sharing,and caring, and everything.
female speaker: and youhave two young children. so they help outwith that as well? etana: well-- too young. female speaker: are they young? they're not old? etana: no, they're notold, but, you know, my daughter is only two. etana: and my son is 13. he doesn't careabout that stuff.
female speaker: finger painting. she can finger paint, right? etana: he's like, he'snot into that stuff. he's just like,mom, just tell me how to do this business stuff,and i'll try to help you out. but i'm not gonna paint. female speaker:i'll keep the books. female speaker: cool. so just to wrap it up, i justhave a couple of fun questions.
so i work for songzawithin google, which i mentioned to youwhen we spoke earlier, but we are musicstreaming, and we do a lot of curated playlists. and so we havesome fun questions that we like to ask artists. etana: ok. female speaker: i'vetried to pare them down to the less risque ones.
so i just have a couple here,so what was the first tape, cd, or vinyl that youbought, and why? [humming] etana: i still remember that. female speaker: mine was paulaabdul, forever your girl, if that makes you feel better. etana: no, i thinkit was instrumental. like, all instrument. like jazz.
i forgot the name of the artist. he blows the flute. i forgot the name of the artist,but that was the first cd that i actuallybought for myself. female speaker: you're buyinginstrumentals, the first cd? etana: isn't that weird? female speaker: that's-- yeah. you were clearlymore mature than i was when i was buying music.
what was the firstconcert that you went to? etana: there was a concert with[inaudible] and sizzla kalonji. i actually snuckinto that club, too. female speaker: oh, yeah? i put on a lot of makeup,i made my lips really red, and i remember wearing this wigthat was really long down here. female speaker: andyou pulled it off? etana: and i pulled it off. etana: i was sohappy when i got in.
yeah, it was cool. female speaker: was that injamaica, or was that in the us? etana: no, that was in miami. female speaker: oh, ok. oh, those clubs are hard toget into when you're young. etana: i pulled it off. i pulled it off. female speaker: appreciate you. etana: i lied so hard.
female speaker:show a little leg. it's fine. etana: i think-- myclothes were so short. etana: i remember i had onthis really short skirt, looking really cute. so i know. but you know, i tried tolook as old as possible. they know. i think he must have figured itout, because i was so skinny.
female speaker: right on. so when you were ateenager, assuming you were as angsty as mostteenagers are growing up-- etana: yeah? female speaker:what song, or what album would you play topiss off your parents? etana: lady saw. i would put in a lady sawcd, or something like that. like, (singing) "if theman live--" and you know.
my mom would belike, turn it off. turn it off. female speaker: mine was lilkim, so i got a little dirtier. but that's great. etana: oh, no. trust me, if you listen tothat song, the raw version, your mom would tell youto turn it off, too. we have to send me that. i still like to piss offmy parents, so-- all right,
so let's see. so obviously you did some coversduring your set, which i loved. you did is this love, youdid the dawn penn song. etana: no, no, no. etana: i love doing that song. female speaker: do youhave any other songs that you really enjoycovering when you're live? like, what's your favorite? or were those your favorite?
[singing] etana: when i did that song,and i listened back to it, i said, oh my god. but i'm actuallyhappy that i asked marcia griffiths aboutdoing that song over. and she'd say, etana, ifthem ask you to do 10, do 10. she was like, do it. do it. but i was a little bitnervous, because that's
marcia griffiths. that's like, thequeen of reggae. when you hear her songsplay all over the world, you know, peoplekind of lose it. so in my mind,i'm like, ok, am i going to make this good enough,you know, everybody out there? and when i heard it back,and heard all the comments, i figured, ok. i got it.
female speaker: i'msure you did it justice. it was wicked. last one, and then we'llsee if anybody else has any questions for you. what's your guiltypleasure song? like, what do you sing toyourself in the mirror? like, dancing in your underwear. etana: let me see. i have a couple.
female speaker:give them all to us. etana: there's asong called refill. (singing) can i get a refill? i'm not good with names at all. yeah, elle. i like-- etana: there yougo, [inaudible]. female speaker: yeah, refill. i love elle, you know?
and there's anotherone that she did, called i said i onlywant to give it to you. yeah, that song is wicked. and so, you know. etana: do the reggae rump, too. well, does anyone else have anyquestions for the lovely etana? i can't see anything outthere, but if you do, stand up, wave your hand around. hoot and holler.
no? etana: shy. female speaker: shy. they're too shy. well, thank you so much, etana. female speaker:this was wonderful. etana: and thanks toeveryone for being here. female speaker: and goout and buy the album. it's out tonight.
etana: i rise. female speaker: i rise. go get it. etana: i can't wait tohave it on my iphone. you mean your droid,because we're at google. etana: oh, yeah. that's right. my droid. female speaker: your droid.
etana: well, you know what? that would be my husband, then. because he doesn'tlike iphone at all. female speaker: that's good. we appreciate that. all right, lady. thank you again so much. etana: thanks to everyone.