A song by Billy Joel with a set of lyrics containing a great many cultural icons. It's a rapid-fire, stream-of-consciousness historical timeline spanning 1949 to 1989, to argue that his generation "didn't start the fire"...
How many names or events do you recognise?
You're allowed to listen to it twice and write them down.
This is a place that has fascinated me since I first read about it.
The Cutteslowe Walls location is out to the NE of the city, just off the A40 bypass.
There is an unassuming road junction, and where the 'T' of the junction is, two roads meet, and at one point, walls divided two estates: one rented and one privately owned houses.
A wall was erected for a while, separating the two types of housing.
This is a wonderful piece of music, composed by William Jackson, one of the members of Ossian.
The music conveys the atmosphere of different elements of the Scottish landscape, and ends with a suite of pieces named after islands including Iona, Islay and Jura.
They were another band I was introduced to while at Huddersfield Polytechnic.
It can be found on many of the usual music streaming services.
William (Billy) Jackson was a key member of Ossian.
Ossian were a superb band, and one of the finest of their era.
They released five excellent albums with a mix of traditional tunes, and I have listened to them for over 40 years.They were another of the bands that I wish I had seen play live.
Two of the members later recorded an album called 'The Misty Mountains' which has some rather beautiful pieces too...
Some live performances for you to savour as well:
and 'The Working Man' from 1990.
Finally, here's the late Tony Cuffe and George Jackson performing 'Jamie Raeburn'.
A search for Ossian will also bring up a very different band with the same name...
I've mentioned this web series before. It's produced by the Cosmic Shambles Network, and presented by Charlotte Ritchie.
It promises to tell the history of music. Early reviews have been very positive.
I'm posting links to the episodes here to increase exposure.
Part Eight: Sing to Me
What makes some music more popular and why do we all have different taste in music? We dig into this via a case study of two pop music juggernauts, The Beatles and Taylor Swift before exploring the behind the scenes process of crafting a memorable song. Finally we take a look at music for children.
Part Eight includes exclusive interviews, rare archive and performances from Paul Kelly, Kelley Jakle. Murray Cook, Sophie Galpin, Jim Bob, Philip Ball, Charlotte Church, Dua Lipa, Paul McCartney, Taylor Swift, Kylie Minogue, Ray Charles, Wilson Pickett, Sonny Tennet, Natalie Haynes, Dean Burnett and more.
This series is an entirely independent production made possible by fan support on Patreon and Substack.
Episode 8 is here:
Episode 9 - the final episode - is coming up next
I will post a review of the series when I've had the chance to watch and also add links to the episodes.
More than 150 objects are showcased in the display, with a large proportion being obtained after the V&A put out a public call for items last year.
As per NME, the exhibition is split into four different sections.
The first explores how dance halls and cinemas became purpose-built music venues in the 1980s. Featured items in this section include artefacts linked to the iconic Manchester club The Haçienda, fashions from brands like Dr. Martens and Converse, and even the original 1985 sign for the Astoria, which has been loaned by Damon Albarn.
I plan to visit next Monday as I'm in the V&A anyway for a meeting ahead of the RGS AGM and Awards and summer reception.
The latest in a series of guest posts from Carl Lee.
“Maybe Romance Is A Place”: That Wet Island out West
You could probably have a month of blogs eulogising the breath and depth of Ireland’s musical heritage. Where would you begin beyond the obvious contenders such as the Boomtown Rats and U2? Should the focus be on traditional Irish music and how far should you trawl, into the 19th century or even further back in time, into the years of British colonial push and shove, bloodshed and dispossession.
I was well versed in such matters from a young age with one Dublin born, Scottish descended, grandparent. His death certificate states ‘labourer’.
For me the first Irish artist I ever saw live was that fellow Irish labourer but of the Fender Stratocaster, Rory Gallagher. This was back in the late 1970s at Friars, the rock venue located in Aylesbury Civic Hall. He’d learnt his chops in The Fontana Showband, a band who from 1961 to 1965 played the hits of the day in ballrooms, civic halls and pubs across Ireland, sometimes everyday bar Sunday. They were grafters. However, music moved on and so did Rory, eventually he formed the band Taste, and then he set off solo with a touring schedule that is probably unheard of these days. It is estimated that he probably played over 2000 gigs, so if you hadn’t seen him in the 1970s you probably didn’t go out much.
It was the third version of his touring band that I saw, with drummer Ted McKenna and bassist Gerry McAvoy, and they had honed a harder edged rock sound by then (I guess they could afford a bigger soundsystem) with his trade mark battered Fender Stratocaster leading the charge in a high octane stage performance. His relentless touring led to a complete burn out and he died after a liver transplant in June 1995 aged 47. A very talented Irish musician. He really put the hard graft in and in that he reminds me of my Irish grand father
I sincerely hope that my current favourite band, who also just also happen to be Irish, learn the lesson from Rory and don’t burn themselves out. This is the Dublin band Fontaines DC, who are four albums into a run of carving out contemporary classics from all sorts of musical directions.
I first stumbled across Fontaines DC during the first Covid lock down in June 2020 on Later with Jools Holland with their isolation filmed ‘A Hero’s Death’. It jumped out lyrically and musically. A breath of optimistic cheer in a dark time.
“And don’t give up too quick
You only get one line, you better make it stick
If we give ourselves to every breath
Then we’re all in the running for a hero’s death”.
Now generally speaking I’m quite fluid in what I listen to but for 12 months I absolutely battered the discography of Fontaines DC, from their first single, the retro punk of ‘Liberty Belle’, to the stadium rock blast of the most recent “It’s Amazing To Be Young”. I may have over-done it. I even bought one of their Bohemians FC third strip sponsored football shirts. Yet, I’ve never caught them live even though they played Sheffield at least three times since a 2018 gig at the Leadmill.
And now I probably won’t, as they are a festival and stadium band now, two types of venues I’ve never particularly warmed to and now I am hesitant at the cost of such endeavours.
But never say never.
Fontaines DC are of course unquestionably Irish, singing on occasion in Gaelic, calling an album ‘Skinty Fia’ and waxing lyrical about the ‘Dublin City Sky’. There is also an attitude that shouts out ‘Irish’; an insouciance, and ease meshed into existential whimsy, and sharp social observation. They’ve got attitude.
Irish musicians have never been short of attitude from Sinead O’Connor, Shane McGowan, Bono and of course the great Thin Lizzy front man Phil Lynott who was in a constant state of rock n’ roll cool; shades, leather trousers, upper-lip snarling, and all the ‘fuck you attitude’ that only a black-man raised in working class Dublin could muster after being asked to cover “Whiskey in the Jar’ to initially break the charts in 1972.
By 1978 Lynott had his revenge with one of the best live albums of the 1970’s, ‘Live and Dangerous’.
<My friend Simon says that Thin Lizzy were probably the loudest band he ever heard in his concert-going life... Alan>
Listening back to 'Live and Dangerous' brings to mind something the literate, crafted Irish nu-country artist CMAT sings. “I feel so rock n’ roll but I look like a secondary geography teacher.”
I can’t help but imagine who it was who taught her geography at secondary school in County Meath just north-west of Dublin and deserved this scathing put down from Ciara Mary-Alice Thompson as it would have said on the school register?
Still, at least another of CMAT’s acid tonged victims, the chef Jamie Oliver, managed to get a foothold in the humour when he stars in the official video of CMAT’s 2026 hit ‘The Jamie Oliver Petrol Station’ playing the drums almost in a manner as frenzied as CMAT’s dancing.
No country is so tightly inter-twined with Britain’s musical heritage whilst still retaining its own identity and diversity as Ireland and this has been sustained over generations stretching back to Victorian times, when Irish labourers dug and built much of Britain’s infrastructure.
So many British families have Irish lurking around their DNA, myself included, a healthy dose that could capture me an Irish passport if I was so inclined; I’m not.
And I will admit it, I have never been!
China yes, Australia even. But not yet a short hop over the Irish Sea to the wet island way out west. A lifetime's oversight that really needs sorting.
But no matter. Plenty of Ireland: its history, culture, and importantly its music, has made it into my life already.
Carl Lee is retired but was a lecturer at The University of Sheffield and Sheffield Hallam University, taught A level Geography for 20 years at Sheffield College, is the author of five books about geography and has a PhD in economic geography. He has been nuts about music since buying his first single in 1973: 10cc’s 'Rubber Bullets' if you were wondering.
The first that occurred to me was Telegraph Road from Dire Straits. I remember hearing this for the first time, and also playing it a number of times. I remember being at a snowy party in Huddersfield in the early 80s when this was played.
The opening notes set a wonderful atmosphere.
Take a listen now:
Via Wikipedia
Telegraph Road is a major north-south 70-mile (110 km) thoroughfare in Michigan, USA, and Mark Knopfler was inspired to write the song while riding in the front of the tour bus, which made the journey down Telegraph Road. At the same time, Knopfler was reading the novel Growth of the Soil by the Nobel Prize winning Norwegian author Knut Hamsun and he was inspired to put the two together and write a song about the beginning of the development along Telegraph Road and the changes over the ensuing decades.
Knopfler understands that we all have these rich inner worlds — kaleidoscopes of obsession, wonder and feeling. There are things that we love and keep to ourselves, pleasures that we have to escape crowds to enjoy, private lives that we all live. His music works, because it brings us to those places.
On the genesis of the song:
The road in question is Telegraph Road, a stretch of pavement spanning almost 80 miles from Toledo, Ohio, to Detroit, Michigan. It was little more than a modest dirt path since it was beaten in the mid-19th century, growing and widening as it became the backbone for infrastructure such as telegraph poles and roadways as the decades rolled onward. In the 1910s, it exploded in usage with the booming auto industry in Detroit, and towns grew off of it as people sought to capitalise on this influx of wealth into the region. But at this point, the story grows achingly familiar. The communities dependent on the road still bear the deep scars of the exodus of the automobile industry. The road has become the scar of progress that the community now bears. Its history is a drama played over a century.
Another road is The Valley Road.
This is from Bruce Hornsby and the Range.
And to finish, here's John Shuttleworth with the A1111 in Lincolnshire.
This track is by the German rock band Rammstein, known for their massively over the top stage shows.
Their 2019 track, which marked their comeback after ten years of no new music, was accompanied by a nine minute video which takes a bit of explaining. There were also some band controversies.
Warning: the video contains some violent imagery and the links contain a few rude words
It is a history of Germany, starting in Germania Magna in 16 AD according to the caption.
More details on the imagery in the video in the Wikipedia article above.
The lengthy music video sparked controversy; its dark, violent, and macabre style—typical of the band's aesthetic—features various events from German history, including Roman times, the Battle of the Teutoburg Forest, the Middle Ages, witch hunting, the November Revolution, the Golden Twenties, Nazi book burnings, the Hindenburg disaster, the First and Second World Wars, the Holocaust, the Weimar Republic, the Red Army Faction, and the division of the country into West and East Germany; it also features science fiction scenes set in outer space, cannibalism in which people eat Germania, the personification of Germany, and a bank robbery featuring lead singer Till Lindemann crossdressing as Ulrike Meinhof. The Afro-German actress Ruby Commey appears as Germania throughout the video.
If you get the chance to see a live performance, take it...
The Underfall Yard is actually linked to Isambard Kingdom Brunel.
The 23 minute title track, "The Underfall Yard", is a song about Isambard Kingdom Brunel and the great Victorian engineers. The Underfall Yard itself is located in Bristol and is an engineering solution, partly developed by Brunel, to maintain water and silt levels in the city's harbour.
The song explores Enlightenment themes, contrasting the rationalism of the Victorian era to a coming 'age of unreason'.
The Underfall Yard was initially inspired by Richard Fortey's The Hidden Landscape.
In the book, Fortey describes a journey along Brunel's Great Western line, where, as the author travelled west, the rocks are found to be older.
“I wanted to do an exploration of men and their obsessions, and I wanted to do a celebration of people and their hobbies, and a celebration of the English countryside”
Mackenzie Crook, 2015
One of the finest TV programmes of recent times.
The music is very much part of the overall 'package' of the programme. It is by Johnny Flynn.
Here's a reminder of the review I wrote of Jo Norcup and Innes Keighren's rather wonderful book....
"Alright geography degree, where should we be searching?"
I've been waiting for this book for some time, and it's lovely to finally hold it in my hand and flick through its contents before diving in. I didn't quite do a "gold dance" when my lovely postlady left it on the doormat and retreated two metres, but not far off. 'Detectorists' instantly grabbed me when the first episode of the first series was broadcast on the BBC on 2nd of October 2014. The week before I'd watched another wonderful Toby Jones performance in 'Marvellous' about the life of Neil Baldwin, so I was keen to see him in this new series too.
There was something calming about the series as it progressed, with the relationship between Becky and Andy, the banter about 'University Challenge', their random finds and changing relationships. There are so many small moments of joy (many of which make it into the pages of the book)
The random curries made from whatever was in the boxes Lance was unloading with his fork-lift.
The changing dynamic of friendship and relationship with the arrival of Sophie.
The bickering with Simon and Garfunkel.
Mr. Bishop and his phantom dogs.
Sheila's lemonade - the sharpest lemonade on the planet.
The tension-filled pub quiz.
All wonderful vignettes making up a fantastic narrative, and pastoral first series, which was followed by two others. It also had the perfect ending for home-maker Andy and his family. The casting of Diana Rigg as Becky's mum (the actress Rachael Stirling is her daughter) was also a lovely touch.
As I was watching it, Jo Norcup and Innes Keighren were also watching, and later discussing it, and unpicking the themes and identifying a number that were geographical beyond the obvious "sense of place" and "landscape as palimpsest" that were perhaps clearer to the viewer, with the treasures buried just out of sight by people long past. There were also references to reading the landscape, Ordnance Survey maps and Google Earth.
Danebury's OS sheet is reproduced at the start of the book, just as it was glimpsed in the episode where Becky uses her geographical skills to suggest the most likely location for the ship they are seeking. Andrew Harris noticed the connection with verticality: how Andy was always looking at the ground, even when performing, and how he took on jobs whose actions mirrored detecting. They noticed how it was Becky who made the decisions, with gender roles being explored, and how detecting is an act which connects you with the quotidian of yesterday.
Later, Jo and Innes developed their ideas and thinking into a session for the RGS-IBG's Summer conference in 2018. When they published an open call for papers I even started writing one. I visited the filming locations in Suffolk, including Framlingham and Aldham, but didn't get it finished, and it would have been rather less than academic if I had.
I had started to explore how programs like 'Detectorists' can lead to a growth in tourism, with people wanting to visit the filming locations. It also explored how the real place is subtly changed by the film makers, so that its geography is changed. Those living in the place can immediately see the lack of logic to particular scenes when they watch them, those unfamiliar remain blissfully ignorant.
Here's an extract from the RGS session abstract which led to the book:
The BAFTA-winning situation comedy-drama “Detectorists” has, across three series and a Christmas special (2014–17), garnered critical praise for its affectionate portrayal of metal detecting and amateur archaeology in rural England. In its attention to the embodied practice of detecting and to the social worlds of detectorists, the programme has been described by critics variously as “about hardly anything and almost everything” (Lloyd 2015) and “the most accurate portrait of men being men that you’ll find in current popular culture” (Fewery 2015). For one Twitter user (Sumsion 2014), the show is simply “a warm, beguiling, slow-burn meditation on male friendship and prosaic details of Englishness, plus some metal”. Explaining his motivation for creating “Detectorists”, Mackenzie Crook, writer and director of the programme, has said “I wanted to do an exploration of men and their obsessions, and I wanted to do a celebration of people and their hobbies, and a celebration of the English countryside” (Crook 2015).
Jo describes the lead up to the session when they wondered whether they were going to make fools of themselves, but it turned out to be very successful and well received, and the programme's producer, Adam Tandy came along too. Isla Forsyth and Andrew Harris added their own pieces as well.
Following the session, Jo and Innes were approached by Colin Sackett of Uniformbooks and asked if they would like to turn the session papers into a book.
The book is beautifully presented and has the added value of a foreword written by Mackenzie Crook who professes himself surprised at how the 'readings' of the authors of each essay have revealed to him some things he never noticed himself - reminding us how geographers see the world with 'a different view', to add to the views of archaeologists and detectorists to interpret the landscapes of anywhere, not just the Landscapes of Detectorists.
Crook has since turned his talents to a resurrection and new interpretation of ‘Worzel Gummidge’, drawn from similar themes of folk tales blended with warnings of climate change and the seasons being out of balance - other geographical themes. A series is apparently forthcoming.
I appreciated the references to some relevant geographical scholarship and others such as Joe Moran, who has written on the quotidian (a personal interest of mine as well), and Tim Edensor, both of whom also consider the creation of the landscape and the role of artefacts to connect us with the lives of those who have occupied the landscape before. The third series introduced more images of the previous occupants, alongside the family of magpies that have been collecting gold in their nest in the tree beneath which Andy and Lance sit to eat their lunch and reflect on their hobby.
The text is accompanied by plentiful black and white stills from the series.
Reading the book gave me a desire to rewatch key scenes from the series to spot things I hadn't noticed. I'd forgotten one scene at the start of the third series, for example, where the solar farm developers Photon Harvest are talking about a new development and unroll a large aerial photograph on the desk in a London highrise. It shows Church Farm outside Danebury.
The camera zooms down into the landscape, 'Powers of Ten' style, to reveal a yellow TR7 and Lance and Andy walking out to start the day detecting...
Lance looks up, and says: "Look at that, not a cloud in the sky"....
Reading this wonderful book has given me a desire to visit the church at Aldhouse again.
Now that the pubs are open I'll also head for Great Glemham and raise a glass to Innes and Jo in 'The Two Brewers'.
I'm also going to finish off my 'paper' on the landscapes explored in the series. This book is very much a book by and for geographers, for those interested in place-making and cultural geography, such as the sub-culture of detectorists and their practice. It's also about the construction of a narrative which has hidden depths, just as any ploughed field has. One particular field on the edge of the village in Snettisham in Norfolk where I lived for 12 years yielded up a golden treasure which, like Lance's brooch is now on display in the British Museum. https://www.britishmuseum.org/collection/object/H_1951-0402-2
Full disclosure: I was sent a review copy of the book by Colin Sackett of uniformbooks, but would have purchased a copy of my own. And have since. Purchase link is here.
uniformbooks have always been supportive of, and receptive to, geographical thinking, having previously published books featuring the work of former GA President Geoffrey Hutchings and also David Matless. Images: Screengrabs from iPlayer - copyright BBC Thanks to Duncan Willis for the expert car knowledge and subequent correction to an earlier draft :) I referred to Lance's car originally as a TVR, which is also a mistake made by Maggie in the series, as Duncan reminded me. http://downloads.bbc.co.uk/writersroom/scripts/Detectorists-S3-Ep4-Shooting-Script.pdf
And here's Johnny Flynn's excellent theme music, performed live:
And if you haven't caught it yet - catch up with Small Prophets. A worthy successor...
One of the most exciting personal musical discoveries of the last few years has been Crown Lands.
The duo are inspired by Rush and Led Zeppelin and other similar bands, and their name references the land which was illegally taken from the indigenous people as North America was colonised and they were marginalised in their own country, and worse...
Cody Bowles is the drummer and vocalist in the band.
The luxuriantly bearded Kevin Comeau plays guitar, bass and keyboards - including a double-necked Rickenbacker.
They have produced a number of tracks which link back to the origins of many Canadians, and protest about the forced changes that took place for many as well as exploring the violence against indigenous people - continuing to this day with recent discoveries of unmarked bodies at former schools for indigenous children.
They also explore the murder and disappearance of thousands of indigenous women and girls, which was the subject of a national enquiry.
And my introduction to Crown Lands was this amazing piece of music... complete with double-necked Rickenbacker and top quality riffage...
Think they can't play that live with just the two of them? Think again :)
People are going to listen to you, so you may as well say something that matters. I don’t play rock and roll to talk about rock and roll, I play to talk about things that matter to me.
Although the blog is called 'World of Music', this post is out of this world... and millions of miles into space....
I've blogged previously over on my main blog: LivingGeography about the space probes Voyager I and II, which left the solar system a while ago, having been originally launched in 1977.
It has featured in one of the early Star Trek movies and elsewhere.
It carries a Golden Record and graphics which provide details on the location of the Earth and sounds and images representing life on earth.
The contents of the record were selected for NASA by a committee chaired by Carl Sagan of Cornell University, et. al. Dr. Sagan and his associates assembled 115 images and a variety of natural sounds, such as those made by surf, wind and thunder, birds, whales, and other animals.
To this they added musical selections from different cultures and eras, and spoken greetings from Earth-people in fifty-five languages, and printed messages from President Carter and U.N. Secretary General Waldheim.
There is a full list of all the music featured on the disc.
The progressive rock band Big Big Train have a track called Voyager, which is all about the space probe. Check it out here.
Some selected lyrics:
Heading further out To reach uncharted shorelines Setting sail for the distant stars The wonder of new worlds Beyond the next headland Over the far horizon Out into the open skies To find out what we are How far we've come How far we can go
There are few cultural universals quite like music. It has the power to invoke the entire gamut of human emotions in a way almost nothing else can. In this groundbreaking docuseries The Cosmic Shambles Network covers the history of music like no series ever has before.
Over four years in the making, presenter Charlotte Ritchie (Ghosts, You) will take you on a fun filled journey from the very first sound waves after the Big Bang to the future of AI music with almost everything in between. Bone flutes and Blues. Neanderthals and Nightingales. Techno and Tabla.
Featuring over 100 exclusive interviews with world leading musicians, scientists and historians, For The Record: An Incomplete History of Music is the ultimate story of the how, when and why of music.
An 8-part docuseries, For The Record: An Incomplete History of Music will be launched on YouTube over Glastonbury Fallow Weekend, starting 25th June 2026, with a bonus episode available to Patreon users.
Presented by Charlotte Ritchie
Produced and Directed by Trent Burton
Featuring Charlotte Church, Nitin Sawhney, Chris Hadfield, Robert Smith, Kelley Jakle, Grandmaster Caz, Grand Wizzard Theodore, Shirley Thompson, Paul Kelly, Natalie Haynes and many many more
Scattered through the year will be songs with a geographical connection on the basis of them being about places... here's the first few of many, and two songs I was listening to when I got the original idea for the blog.
Mark Knopfler and James Taylor sing here about Mason and Dixon: the surveyors who drew up the Mason-Dixon Line.
This is a story song, told in two monologues between Charles Mason and Jeremiah Dixon as they travel from Great Britain to Pennsylvania for the survey work that created the Mason-Dixon Line in 1763.
The song was inspired by Thomas Pynchon’s novel Mason and Dixon.
Besides providing a wonderful history lesson, it also humanises these people for us; giving us some perspective on their motives and emotions.
I like songs when people talk about their home and bring in some of the little details that only those who know the place will be familiar with: the little vernacular details which bring it to life.
This second song is from an album by Francis Dunnery. Dunnery was the vocalist and guitarist of the 80s band 'It Bites' and has had a long solo career, and also worked as a musician with other acts including in Robert Plant's band and with Big Big Train.
This track is called 'Hometown'. It is from the 2001 album 'Man'.
A live album – Hometown 2001 – was recorded 14 June 2001 at the Whitehaven Civic Hall in Cumbria and released later the same year.
Dunnery's home town is Egremont, in Cumbria. The lyrics reference Murphy's Pies: a bakery on the Market Place in Egremont which has since closed.
The title of his 2005 album 'The Gulley Flats Boys' is a reference to the council estate in Cumbria, North-west England where Francis grew up.
His most recent album and tour through early 2026 is about his upbringing on this council estate.
What other songs can you think of that articulate a close connection to a place?
As we are at the birth of this new blog, this is a programme made for Radio 4 and presented by Jude Rogers,who was featured on the 2nd of January because of her book on the importance of music to our lives.
This looks back at when music first started.
How did we come to develop a range of sounds which became music and mixed with our voices?
Details:
The ancient West Kennet Long Barrow burial chamber near Avebury in Wiltshire was built around 3650 BC. Its cave-like spaces, formed by vast rocks, are the setting for Jude Rogers’ exploration of how Neolithic people of that time might have made music.
We can’t know for sure of course, but music, ritual and dance are universal features of human life, and so it must have been even in pre-history. So what might be the links between prehistoric music gatherings and dance music culture today? A rave in the cave?
Jude is joined by Professor Rupert Till from the University of Huddersfield aka Professor Chill, a DJ and electronic music producer who knows about sound frequencies in ancient sites, and Letty Stott, a musician and PHD student who can get a tune from a conch. Historical context is provided by Dr Ben Chan, a highly experienced archaeologist from the University of Bristol who works at Avebury nearby.
We also hear from Ritta Rainio in Finland, whose research into prehistoric pendants culminated in a wild dance in a costume of rattling elk teeth. Artist and musician Jem Finer tells us the story of the Gurdy Stone.
Meanwhile musician ‘Spaceship’ Mark Williamson is hard at work recording sounds inside a neolithic tomb in Anglesey.
