novelty songs

979. ‘F.U.R.B. (F U Right Back)’, by Frankee

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Sigh. Ready for Round Two of Britain’s Spring of Silliness?

F.U.R.B (F U Right Back), by Frankee (her 1st and only #1)

3 weeks, 16th May – 6th June 2004

Yes, after a month of Eamon’s whiny ‘F**k It (I Don’t Want You Back)’, his supposed ex-girlfriend Frankee had to have her say. There are two sides to every story… she announces in the intro. So far so stupid. But bear with me as I explain why this is the far better record.

‘F.U.R.B.’ is essentially the same song: same tune, same vaguely doo-wop melody, same amount of swearing. But whereas Eamon’s version was plodding and self-indulgent, Frankee’s version is sassy and, in places, pretty hilarious.

The sass is added very easily, by putting some synth blasts at the end of each bar to liven up the original’s treacly tempo, and by adding a couple more beats and clicks to the rhythm. And then by the fact that, lyrically, Frankee doesn’t go in for any moping. She goes for the low blows, and hits Eamon where it hurts. He was, it turns out, a crap shag.

You thought you could really make me moan, I had better sex on my own… and Fuck all those nights you thought you broke my back, Well guess what yo, Your sex was wack… I mean yes it’s childish, yes it’s tawdry, yes it’s vulgar. But I think a line like I do admit I’m glad, I didn’t catch your crabs is funny, and well-deserved after having sat through multiple plays of Eamon’s original.

And at one point there is a moment of precise critical clarity, when Frankee sings: If you really didn’t care, You wouldn’t wanna share, Telling everybody just how you feel… Exactly, Eamon! By writing an entire song about how much you don’t care, you’re showing the world that you really do! Idiot.

I feel there is a comment to be made here, on the power imbalance in male-female relationships. Why is the woman allowed to be rude post-breakup, while the man comes across as vindictive? If Eamon claimed Frankee was bad in bed then it would be very ungentlemanly. Frankee does it and it’s empowering. But also, do two songs as lowbrow as this deserve any deep analysis? Probably not.

Eamon denied that Frankee had ever been his girlfriend, but at the same time claimed he had auditioned her for the role of recording this answer song (he earned royalties for both), and welcomed her into “the world of ho-wop” (his words). Like Eamon, Frankee released an album off the back of this gimmick, but unlike Eamon she remains a gold-star one-hit wonder. She subsequently left the music business, and in 2016 joined the NYPD.

Swear-less:

Swear-full:

978. ‘F**k It (I Don’t Want You Back)’, by Eamon

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I recently called Usher’s ‘Yeah!’ the song of 2004. Maybe I should rethink that. Is there a song more of its time and place than this next number one…

F**k It (I Don’t Want You Back), by Eamon (his 1st and only #1)

4 weeks, 18th April – 16th May 2004

And can we lock it in a lead-lined vault, bury it in quicklime, and make sure it stays in 2004? Do we have to revisit these seven weeks in which the British record-buying public lost their collective minds, and made ho-wop a thing? Sadly yes. I can’t very well start skipping chart-toppers this far in.

Let’s start by grasping for positives. There is a grain of a retro doo-wop/soul melody here, and had the vocals, the lyrics, and the production, been handled differently then this might have been a nice song. Unfortunately, the vocals are thin and whiny, and the production a cheap, pre-set hip-hop beat.

And then there are the lyrics. I took Busted to task for their toxicity in ‘Who’s David’, but this is next level. Eamon’s ex-girlfriend is, at various points during the song, a whore, a burnt bitch, and a hag. Fuck all those kisses, They didn’t mean jack, Fuck you you ho, I don’t want you back… In total, I make it twenty uses of the F-bomb, alongside various other profanities, making this the sweariest number one ever at this point.

Now, I’m not a prude (the asterisks in the post title are me being a stickler for accuracy, as that is how the record was published); but this record is just relentlessly nasty. Couldn’t Eamon have been a little more inventive in his revenge, than bleating about how he had to throw all the presents she gave him out? I’m not against making a song about a break-up, if you really must – though I’ll always think it a bit self-indulgent – but did recording this make Eamon feel better? Really?

Of course, analysing this record on any level is essentially pointless. We all now know that it was a cynical marketing gimmick. Our very next post, involving Eamon’s ‘girlfriend’ Frankee and her answer song, will make that very clear. And to an extent it worked, as previously unheard of Eamon scored the year’s second-highest selling single. But it didn’t lead to any sustained success whatsoever, as his charmingly titled follow-up ‘I Love Them Ho’s’ stalled at #27, and was his only other Top 40 appearance.

Swear-less:

Swear-full:

975. ‘Cha Cha Slide’, by DJ Casper

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Are you ready to cut some shapes? Cause this time, we gonna get funky…

Cha Cha Slide, by DJ Casper (his 1st and only #1)

1 week, 14th – 21st March 2004

I can truly see the appeal of a song that comes with a step-by-step, foolproof, IKEA-style guide to the dance. ‘The Timewarp’ springs immediately to mind. I’m an okay dancer, when freestyling, but get very stressed when following a routine (see my post on ‘Saturday Night’).

So, for DJ Casper to introduce this record with we’re gonna do the basic steps… is on one level helpful. But that’s all this record is. Three plus minutes of some very basic steps. Slide to the left… Slide to the right… Two hops this time… Hands on your knees… Even I can keep up. Okay it gradually speeds up, throws in some freezes, reverses, and something called a ‘Charlie Brown’; but it gets very repetitive, very quickly.

The ‘Cha Cha Slide’ has an interesting, and protracted history. DJ Casper, a prominent figure in the Chicago ‘stepping’ movement, wrote it in 1998 as a step aerobics routine for his nephew, a personal trainer. This chart-topping version is technically the ‘Casper Slide Part 2’, as Part 1 was just the steps performed to a track called ‘Plastic Dreams’, to which DJ Casper didn’t have the rights. So he recorded a new, fairly rinky-dink version with something called the Platinum Band. This version was released in 2000, making #83 in the US, but growing organically through local radio and mobile discos, not to mention exercise classes, to the point that it was released worldwide four years later.

And here we are. I don’t hate this, because it’s an old-fashioned novelty, and it feels like a while since we had a proper novelty number one. Was the last one ‘The Ketchup Song’, or even DJ Otzi’s ‘Hey Baby’? But also, like I said, it’s repetitive. On first listen, I checked the time remaining twice, so eager was I for it to finish. It just keeps going… And that’s only the single edit. The original is six and a half minutes long!

Despite DJ Casper’s long stepping career, this was his only real hit record (the name ‘Casper’ came from his penchant for wearing all-white, like the friendly ghost). In fact, the UK and Ireland were the only two countries where he ever had a follow-up hit, with his take on ‘Oops Up Side Your Head’. We really do love a novelty.

The story of this song’s creation, its long road to success, and its annoying nature, remind me of Fatman Scoop’s ‘Be Faithful’ from a few months earlier. Though ‘Cha Cha Slide’ is a lot more wholesome and kid-friendly. Speaking of ‘wholesome’, we have to finish on the Christian version of this record – The Bible Slide – which is so bad nobody can work out if it’s a parody or not. This time, we’re gonna get holy…

950. ‘Spirit in the Sky’, by Gareth Gates with special guests The Kumars

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Sounding our biannual Comic Relief charity record warning klaxon…

Spirit in the Sky, by Gareth Gates (his 4th and final #1) with special guests ‘The Kumars’

2 weeks, 16th – 30th March 2003

Yes, every two years (or more often, if Children In Need also get in on the act) we have to suspend taste and decency in the name of charity. Recent efforts have been a bit more ‘straight’ – Boyzone, Westlife, S Club – but for the 2003 telethon, the Comic Relief producers went back to their roots…

And as with all charity #1s, I’ll try not to be too down on it because it was for a good cause and blah blah blah. I do like the Indian touches – the sitars, the backing vocals – and I do like ‘Spirit in the Sky’ as a song. The previous chart-topping versions – Norman Greenbaum’s original and Doctor & the Medics’ eighties reboot – are a lot better, mind you. Still, it remains a good song.

Unfortunately, Gareth Gates’ voice sounds at its reediest here. He did okay on his earlier chart-topping ballads, but this suffers from the same problems as his ‘Suspicious Minds’ cover. He just doesn’t have a rock voice – sounding too boyish – which means, along with the goofy production, this starts to sound like something you’d hear at Butlins.

Also unfortunately, the comic asides from the Kumars are not very funny. It’s hard to be funny in song. Very few #1 singles could be described as ‘funny’. The Kumars are in character, from their comedy chat show of the time, but their contributions are largely asinine. I thought we got reincarnated… Is it driving distance…? Maybe the fear of mocking both Christianity and Hinduism restricted them, but the only genuinely funny line is when one of them replies to the Gotta have a friend in Jesus… with Or Vishna! Oh, and the creepy I want to come back as Gareth’s hair gel…

This maybe could have been more of a moment, as one of the few appearances for British Indians at the top of the pop charts. Except that gets lost in the unfunny gloop. Which means this record is more memorable for being the final chart-topper of Gareth Gates’ whirlwind post-‘Pop Idol’ year. (He had two further Top 10 singles, before moving into musical theatre and television. Nowadays he is part of a stripping troupe known as ‘Boyband in the Buff’…)            

This was also notable for being ‘Spirit in the Sky’s third chart-topping appearance, as mentioned earlier, tying it with ‘You’ll Never Walk Alone’ and pulling it one behind four-time ‘Unchained Melody’. It’s probably telling that Gareth Gates had a hand in two of those three, and that lack of originality isn’t helpful if you want to have a long career in pop.

938. ‘The Ketchup Song (Aserejé)’, by Las Ketchup

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Ah, the classic autumn Eurotrash hit. Played in bars across Europe all summer, and belatedly making #1 in the UK after the leaves have started to fall…

The Ketchup Song (Aserejé), by Las Ketchup (their 1st and only #1)

1 week, from 13th – 20th October 2002

To Whigfield, Eiffel 65 and DJ Ötzi we can now add Las Ketchup, with this slice of Spanglish surf rock. And, of course, the accompanying dance routine. They were a Spanish girl group, three sisters, and this was their first hit. And call me cynical, but when your group and your first single share a title, and that title involves ‘Ketchup’, then it’s safe to assume you’re not aiming for longevity.

But also, call me surprised, because this isn’t at all as bad as I’d expected. It’s horribly catchy, sure, and largely nonsense (‘aserejé’ is not a Spanish word, nor is ‘buididipi’, nor ‘seibuinova’) with a chorus based on ‘Rapper’s Delight’, but it’s much more of a rock song than I recalled, with the guitars switching between eighties soft, and growling surf, rock. It’s not as in-your-face irritating as some of the Eurotrash that’s gone before and, despite its obvious disposableness, it still sounds like a real song.

This is all a revelation, presumably because sixteen-year-old me wrote this off as novelty crap without giving it a proper listen. I’d still not choose to listen to it, but couldn’t promise that it wouldn’t get me on a dancefloor in double quick time after a jug of sangria. And at least it came out when I was too old to be haunted by its dance routine at primary school discos, unlike ‘Saturday Night’ and ‘Macarena’.

My teenage aloofness has also caused me to miss how bloody massive this song was in 2002. It made #1 in twenty-seven countries, and Wiki lists it as being a chart-topper in every territory in which it was released except the US, Japan, and – the only European hold-outs – Croatia. It didn’t lead to any lasting success, however, and Las Ketchup are gold-star one hit wonders in the UK. Their last release was in 2006, when they represented Spain at Eurovision, finishing twenty-first with ‘Un Blodymary’, though they continue to perform.

One other thing that had passed me by regarding ‘The Ketchup Song’, as well as its relative quality and its success, was the fact that the gibberish lyrics are alleged in Latin America to be secretly demonic… ‘Aserejé’, some religious types argued, sounds like ‘a ser hereje’ (‘let’s be heretical’), with other lyrics supposedly referring to hell and Satanic rituals. The song was banned by a TV station in the Dominican Republic on these grounds… So, press play below at your peril!

911. ‘Because I Got High’, by Afroman

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It’s been noticeable how, as soon as the 21st century began, the top of the singles chart has been home to all manner of depravity. And here is yet more evidence of slipping societal standards…

Because I Got High, by Afroman (his 1st and only #1)

3 weeks, from 21st October – 11th November 2001

We’ve had the rock ‘n’ roll, we’ve had the sex, and now we have the drugs. Of course, this isn’t the first number one song to reference illegal substances, but usually they’ve been protected by innuendo, by a level of plausible deniability. This record, however, opens with someone asking us to roll another blunt. Less than a decade sits between the nudge-wink of ‘Ebeneezer Goode’, and this unabashed celebration of ganja.

But, actually, is this a celebration? Superficially, yes. But then you listen and notice that this song is a list of unfortunate events brought about by smoking too much weed. First verse: I was gonna clean my room, Until I got high… Second verse: I was gonna go to class, Before I got high… It’s not long before he’s being chased by the police, crashing his car, and ending up a paraplegic.

Obviously, all this is tongue in cheek, a fact highlighted by the fact that the paraplegic verse is followed by one about being unable to function sexually: I was gonna eat your pussy too, But then I got high… (Sadly, Afroman is forced to take matters into his own hands, if you catch my drift.) This is no anti-drug song, no inside job to keep the kids on the straight and narrow. But it works as a satire nonetheless, with Afroman and his homies skewering the reasons that those in authority give to warn people off marijuana. By the end, the fourth wall has been broken: Imma stop singing this song, Because I’m high… And if I don’t sell one copy, I’ll know why…

So I like this record on one level. I also like how stripped back it is, just a bassline and vocals. It’s almost a cappella, with some doo-wop backing touches. But the backing vocals, his gang of stoned buddies whooping and hollering, are also the reason that this song grows old, and quickly. Unless you’re actually high when listening, then you might think that this was the greatest song ever recorded. Which I suppose means that ‘Because I Got High’ is doing its job.

Afroman had been rapping since the 8th grade, when he allegedly recorded a diss track about the teacher who had him expelled for wearing sagging jeans. Which seems unlikely, but it’s a fun origin story… ‘Because I Got High’ could be said to have gone viral, by the standards of the time. It had originally been released a year and half earlier, and had slowly grown in popularity on file-sharing websites. This belated major label release came after the track was featured on the soundtrack to ‘Jay and Silent Bob Strike Back’.

Afroman was good for one more Top 10 hit, ‘Crazy Rap’ in early 2002. And if ‘Because I Got High’ is at the limit of your tolerance, or if you’re a Dolly Parton fan, then I’d say best avoid it. After the hits dried up he started releasing his music independently, and remains active to this day, with his beloved Mary Jane still very much a strong lyrical theme (his album titles include ‘Drunk ‘n’ High’, ‘Waiting to Inhale’ and ‘Marijuana Music’).

909. ‘Hey Baby (Uuh, Aah)’, by DJ Ötzi

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Christmas is still months away, so what’s with all the novelties? Hot on the heels of Bob the Builder, Oktoberfest comes to the UK singles chart…

Hey Baby (Uhh, Ahh), by DJ Ötzi (his 1st and only #1)

1 week, from 16th – 23rd September 2001

God, it’s hard to exaggerate how much this record was done to death. Mentioning Christmas feels relevant, because this was played at every festive party in 2001 (and 2002, and 2003…) The murdering of a sixties classic, the cheap synths, the crowd participation – added to the title, just in case you were in any doubt – the key change… The term ‘Eurotrash’ doesn’t begin to do it justice.

But it’s somehow… enjoyable? There’s something endearing about this, and I think it is down to DJ Ötzi’s complete commitment to his craft. He sells it, bawling out every line as if he is coming live, four beers in, from the big tent in Munich. I don’t think it has occurred to him that this could be considered a novelty record, and he’d be mortally offended if you as much as suggested it.

Ötzi is Austrian, while his beanie hat and bleached goatee (which he still sports today, aged fifty-four) have been burned into my memory for the past twenty-four years. Two interesting facts about him: he named himself after Ötzi the Iceman, a 3,500 year-old frozen mummy uncovered in the Alps (Europe’s oldest known human). And in 2002 he suffered a severe form of hearing loss (add your own jokes here…) He remains active though, especially beloved in his homeland, where he’s enjoyed thirteen Top 10 albums!

Bruce Channel’s original ‘Hey! Baby’ had been a #2 in 1962, and had also come back into the public consciousness thanks to the ‘Dirty Dancing’ soundtrack in the late-eighties. Ötzi had his wicked way with another sixties hit as a follow-up, ‘Do Wah Diddy’ making #9 later in the year. He enjoyed a third Top 10 with a remixed version of ‘Hey Baby’ for the 2002 World Cup, before graciously leaving the British charts alone.

Interestingly, demand for ‘Hey Baby’ was such that it had bounced around the lower reaches of the chart for seven weeks thanks to import copies from Europe. This meant that it had an unprecedented, if slightly false, forty-four place climb to the top when finally given a proper release. I also wonder if it’s telling that this was the best-selling record during the week of the 9/11 attacks. Were the public looking for light relief after digesting such horrific images? I couldn’t say. The fact that this and Bob the Builder were the two biggest records at the time does feel slightly incongruous…

If we add Blue’s ‘Too Close’ into the equation, this is, I believe, the first time that three consecutive covers have topped the charts. Also, and this is something I’ve been feeling for a while now, the cheapness of 2001’s chart-toppers is starting to wear thin. These two back-to-back novelties, Atomic Kitten, Shaggy, Hear’Say, Geri’s ‘It’s Raining Men’… I never expected to say this, but the year 2000 now feels like a high watermark for the time, with some high quality dance and pop #1s, and not too much cheese. Now though, we’ve reverted back to 1998-99 standard, when Vengaboys, B*Witched, Eiffel 65 and the like ruled the day.

Having said all this, our next chart-topper is both classy and era-defining, blowing all this novelty nonsense out of the water…

A low-res version of the video:

Better quality version (audio-wise I mean, the song’s still terrible…):

908. ‘Mambo No. 5’, by Bob the Builder

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Bob the Builder manages what all the other Christmas novelties never could. Benny Hill, Little Jimmy Osmond, Renée and Renato, Mr. Blobby… Few of them managed another hit, let along another chart-topper!

Mambo No. 5, by Bob the Builder (his 2nd and final #1)

1 week, from 9th – 16th September 2001

Gone is Lou Bega’s list of women that he’s shagged, replaced with more child-friendly construction items and a lengthy to do list. A little bit of timber and a saw, A little bit of fixing that’s for sure… A little bit of tiling on the roof, A little bit of making waterproof… Bob’s a little bit of a taskmaster, that’s for sure, but his gang seem to be up to the job.

It’s largely more of the same as ‘Can We Fix It?’, just to a different tune. It sounds so much like Bega’s version that I wonder if they aren’t singing over the same backing track. But like the first hit, there’s an enjoyable amount of energy and love put into it. It’s a novelty, but it doesn’t overly grate, and the lyrics are genuinely tight and cleverly put together.

We’ve just had two versions of ‘Lady Marmalade’ at number one with just three years in between, and here are two versions of ‘Mambo No. 5’ in top spot exactly two years apart. Not counting the 1950s habit of releasing different versions of a song at the same time (as with ‘Answer Me’, ‘Singing the Blues’ and ‘Cherry Pink & Apple Blossom White’) this must be a record for shortest time between two chart-topping versions of the same song. Though is it the same song? Same title and tune, yes, but completely different lyrics. After ‘3 Lions ‘98’ this is only the second song to make #1 twice with (significantly) different words.

Bob the Builder and his gang would have one further hit, with rave anthem ‘Big Fish Little Fish’, from their brilliantly titled second album ‘Never Mind the Breeze Blocks’, making #81 in 2008. Leaving seven years between albums was clearly a gamble that backfired… Bob the Builder remained on TV until 2008, before being relaunched in 2010. I can’t be alone in finding the CGI animation of the reboot slightly sinister compared to the original stop-motion version. The CGI Bob has never attempted a singing career, and it’s probably for the best. Good to go out on a high.

886. ‘Can We Fix It?’, by Bob the Builder

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Ah, the classic British Christmas. Pigs in blankets, a half-pissed Granny, more rain than snow outside, and some novelty tripe at number one in the charts…

Can We Fix It?, by Bob the Builder (his 1st of two #1s)

3 weeks, from 17th December 2000 – 7th January 2001

Bob the Builder joins Mr Blobby, Benny Hill, the kids of St. Winifred’s, Little Jimmy Osmond, and several more, in the festive hall of shame. But I will say that, while ‘Can We Fix It?’ is not a song I’m desperate to ever revisit after this; it’s far from the most heinous example of festive excess.

It’s an expansion on the theme to the popular kids’ TV show, with lots of fun musical references. It opens with a version of the escalating ‘Twist and Shout’ intro, also heard in more respectable chart-toppers from David Bowie and the Manic Street Preachers (which means that the year 2000’s first and last #1s are connected in the most unlikely way). Elsewhere there’s a pretty current 2-step garage beat, and lots of record scratches. For a song based on a children’s TV show theme it actually sounds like it could, in a not too distant parallel universe, be a real pop song.

In the video, by which novelties like this often live and die, Bob the Builder puts on various pop star guises, the most memorable of which is Liam Gallagher, complete with a parka and a sneering microphone stance. It also helps that Neil Morrissey, AKA Bob, has a Jarvis Cocker-esque drawl to his voice, sounding almost like a real rock star, but also like he’s very much not taking this seriously at all.

So, like I said, far worse musical crimes have been committed in the name of a Christmas number one. (And that’s before we mention the many God-awful, non-festive novelty chart-toppers…) But quite how this managed to become 2000’s best-selling single – in a year not short of generational classics – and the entire decade’s 10th best seller (!), I’m not quite sure. But hey, at least it kept Westlife’s ‘What Makes a Man’ off top spot, denying them a second Christmas #1 in a row.

Interestingly too, it was the only one of the year 2000’s forty-two chart-toppers that climbed to the top, entering at #2 behind ‘Stan’ the week before. It then peaked in sales in its third week, taking the coveted Christmas prize.

We finally, then, reach the end of 2000: the longest year we’ll ever cover. I published the first number one of this year on 23rd January, real-time, and we’re now well into June. I’m not sure I can sum up a year with so many different number one singles, but I’ve enjoyed more of them than I expected to (while it’s also been a self-indulgent trawl through my fifteenth year on this planet). Back then I was frustrated at the high turnover, feeling that it devalued the charts (which it does), but I’m coming round to the feeling that variety is indeed the spice of life. Meanwhile, at the time of writing in 2025, the current UK #1 has just entered its twelfth week on top…

836. ‘Blue (Da Ba Dee)’, by Eiffel 65

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And so we come to this story, about a little guy who lives in a blue world…

Blue (Da Ba Dee), by Eiffel 65 (their 1st and only #1)

3 weeks, from 19th September – 10th October 1999

Blue his house, With the blue little windows, And a blue Corvette, Everything is blue for him… I warned you that we weren’t quiet done with the novelty dance hits, but it feels unfair to lump this in with the Vengaboys’ banal beats. ‘Blue (Da Ba Dee)’ has a strange depth to it, a deep melancholy in the piano line, and a compelling bizarreness to the verses’ revving bass and deliberately off-key vocals.

For a start, it’s clearly about someone in the middle of a depressive episode, wandering through a world where everything is blue, inside and out, cause he ain’t got nobody to listen… This guy needs help! ‘Dancing through the tears’ is a well-established dance music trope, but very few records can have mixed dance and depression like this. And really, can you actually dance to this song? The bpms are fairly low, and it doesn’t really have peaks and troughs, the moments of euphoria that dance records need. Just a steady trudge through a blue world.

I can see why this record annoys people (‘Rolling Stone’ have it as the 14th most annoying song ever), and yet I think that’s a knee-jerk reaction. Yes, it’s repetitive and sing-songy. Yes the chorus is just lots and lots of da ba dees. Yes, the video is spectacularly bad (I’m not sure what’s more dated, the CGI or the band’s frosted tips). But so what? Get beyond that, and listen to the moment in the verses where the autotune twists the lyrics to make it sound like the singer’s voice is breaking, and wonder if there might not be some depth to this record.

Plus, if nothing else, it has left the world with that piano hook, which has been sampled, remixed and interpolated many times in the past twenty-five years. A re-write by David Guetta and Bebe Rexha, which tapped into the 2020’s nostalgia for all things ‘90s, made number one a couple of years back, while there’s not a Best of the Nineties compilation worth its salt without this tune on it, like it or not.

Eiffel 65 are an Italian duo (formerly a trio when this made #1), and this their first big hit. They managed a #3 follow-up, ‘Move Your Body’, which was more of the same without being anywhere near as memorable. They then vanished from most charts, though they were scoring Italian hits well into the 2000s. They are still active, and were recently seen trying to represent San Marino at the 2023 Eurovision Song Contest. Meanwhile the funny blue alien from the video, Zorotlekuykauo Sushik IV, AKA ‘Zorotl’ has also released music under his own steam (with a song written by the members of Eiffel 65). The more you know…