Podcasts about jazz and popular music

Oscar-nominated and Grammy-awarded jazz trumpeter and film composer Terence Blanchard sits down with UC San Diego Music Professor Emeritus Cecil Lytle to talk about the world of music, from jazz to opera to composing for movies. He's won five Grammy awards and composed more than 40 film scores, from "Jungle Fever" in 1991 to the 2022 film "The Woman King." The New Orleans native served as artistic director of the Thelonious Monk Institute of Jazz and premiered his first opera, Champion, in 2013. Series: "Helen Edison Lecture Series" [Humanities] [Arts and Music] [Show ID: 38659]

Oscar-nominated and Grammy-awarded jazz trumpeter and film composer Terence Blanchard sits down with UC San Diego Music Professor Emeritus Cecil Lytle to talk about the world of music, from jazz to opera to composing for movies. He's won five Grammy awards and composed more than 40 film scores, from "Jungle Fever" in 1991 to the 2022 film "The Woman King." The New Orleans native served as artistic director of the Thelonious Monk Institute of Jazz and premiered his first opera, Champion, in 2013. Series: "Helen Edison Lecture Series" [Arts and Music] [Show ID: 38659]

Oscar-nominated and Grammy-awarded jazz trumpeter and film composer Terence Blanchard sits down with UC San Diego Music Professor Emeritus Cecil Lytle to talk about the world of music, from jazz to opera to composing for movies. He's won five Grammy awards and composed more than 40 film scores, from "Jungle Fever" in 1991 to the 2022 film "The Woman King." The New Orleans native served as artistic director of the Thelonious Monk Institute of Jazz and premiered his first opera, Champion, in 2013. Series: "Helen Edison Lecture Series" [Arts and Music] [Show ID: 38659]

Oscar-nominated and Grammy-awarded jazz trumpeter and film composer Terence Blanchard sits down with UC San Diego Music Professor Emeritus Cecil Lytle to talk about the world of music, from jazz to opera to composing for movies. He's won five Grammy awards and composed more than 40 film scores, from "Jungle Fever" in 1991 to the 2022 film "The Woman King." The New Orleans native served as artistic director of the Thelonious Monk Institute of Jazz and premiered his first opera, Champion, in 2013. Series: "Helen Edison Lecture Series" [Arts and Music] [Show ID: 38659]

Did you know that Frida Kahlo loved to sing? This concert features a selection of her favorite songs from the 1930s and 1940s. The concert is part of the San Diego Opera's world premiere of "El último sueño de Frida y Diego" ("The Last Dream of Frida and Diego") by Grammy Award–winning composer Gabriela Lena Frank and Pulitzer Prize–winning librettist Nilo Cruz. [Arts and Music] [Show ID: 38456]

Did you know that Frida Kahlo loved to sing? This concert features a selection of her favorite songs from the 1930s and 1940s. The concert is part of the San Diego Opera's world premiere of "El último sueño de Frida y Diego" ("The Last Dream of Frida and Diego") by Grammy Award–winning composer Gabriela Lena Frank and Pulitzer Prize–winning librettist Nilo Cruz. [Arts and Music] [Show ID: 38456]

Did you know that Frida Kahlo loved to sing? This concert features a selection of her favorite songs from the 1930s and 1940s. The concert is part of the San Diego Opera's world premiere of "El último sueño de Frida y Diego" ("The Last Dream of Frida and Diego") by Grammy Award–winning composer Gabriela Lena Frank and Pulitzer Prize–winning librettist Nilo Cruz. [Arts and Music] [Show ID: 38456]

Ellas is a new trio that performs an exciting blend of mariachi, jazz, country, and various other styles. Series: "Critically Human" [Arts and Music] [Show ID: 38284]

Ellas is a new trio that performs an exciting blend of mariachi, jazz, country, and various other styles. Series: "Critically Human" [Arts and Music] [Show ID: 38284]

Ellas is a new trio that performs an exciting blend of mariachi, jazz, country, and various other styles. Series: "Critically Human" [Arts and Music] [Show ID: 38284]

Ellas is a new trio that performs an exciting blend of mariachi, jazz, country, and various other styles. Series: "Critically Human" [Arts and Music] [Show ID: 38284]

UC Santa Cruz Professor of Music, Director of Jazz Studies, and Director of the Digital Arts and New Media program Karlton Hester talks about being appointed as UCSC's first Associate Dean for Diversity, Equity and Inclusion in the Arts. Professor Hester began his career as a composer and recording artist in Los Angeles where he worked as a studio musician and music educator, performing both flute and saxophone. He received his Ph.D. in composition from the City University of New York Graduate Center. Series: "The Art of Change" [Humanities] [Arts and Music] [Show ID: 37989]

UC Santa Cruz Professor of Music, Director of Jazz Studies, and Director of the Digital Arts and New Media program Karlton Hester talks about being appointed as UCSC's first Associate Dean for Diversity, Equity and Inclusion in the Arts. Professor Hester began his career as a composer and recording artist in Los Angeles where he worked as a studio musician and music educator, performing both flute and saxophone. He received his Ph.D. in composition from the City University of New York Graduate Center. Series: "The Art of Change" [Humanities] [Arts and Music] [Show ID: 37989]

UC Santa Cruz Professor of Music, Director of Jazz Studies, and Director of the Digital Arts and New Media program Karlton Hester talks about being appointed as UCSC's first Associate Dean for Diversity, Equity and Inclusion in the Arts. Professor Hester began his career as a composer and recording artist in Los Angeles where he worked as a studio musician and music educator, performing both flute and saxophone. He received his Ph.D. in composition from the City University of New York Graduate Center. Series: "The Art of Change" [Humanities] [Arts and Music] [Show ID: 37989]

UC Santa Cruz Professor of Music, Director of Jazz Studies, and Director of the Digital Arts and New Media program Karlton Hester talks about being appointed as UCSC's first Associate Dean for Diversity, Equity and Inclusion in the Arts. Professor Hester began his career as a composer and recording artist in Los Angeles where he worked as a studio musician and music educator, performing both flute and saxophone. He received his Ph.D. in composition from the City University of New York Graduate Center. Series: "The Art of Change" [Humanities] [Arts and Music] [Show ID: 37989]

The challenge of blending three sound sources, the kinescope recording system, and the multimedia afterlives of 1950s television programs all arise in this conversation between film professor Ross Melnick, UCLA archivist Mark Quigley, and sound engineer Nicholas Bergh about the ABC television program Stars of Jazz. In this video, Quigley discusses the process of selecting which episodes to restore, and Bergh describes the principles of sound fidelity that guide his restoration work. Series: "Carsey-Wolf Center" [Show ID: 35806]

The challenge of blending three sound sources, the kinescope recording system, and the multimedia afterlives of 1950s television programs all arise in this conversation between film professor Ross Melnick, UCLA archivist Mark Quigley, and sound engineer Nicholas Bergh about the ABC television program Stars of Jazz. In this video, Quigley discusses the process of selecting which episodes to restore, and Bergh describes the principles of sound fidelity that guide his restoration work. Series: "Carsey-Wolf Center" [Show ID: 35806]

The challenge of blending three sound sources, the kinescope recording system, and the multimedia afterlives of 1950s television programs all arise in this conversation between film professor Ross Melnick, UCLA archivist Mark Quigley, and sound engineer Nicholas Bergh about the ABC television program Stars of Jazz. In this video, Quigley discusses the process of selecting which episodes to restore, and Bergh describes the principles of sound fidelity that guide his restoration work. Series: "Carsey-Wolf Center" [Show ID: 35806]

The challenge of blending three sound sources, the kinescope recording system, and the multimedia afterlives of 1950s television programs all arise in this conversation between film professor Ross Melnick, UCLA archivist Mark Quigley, and sound engineer Nicholas Bergh about the ABC television program Stars of Jazz. In this video, Quigley discusses the process of selecting which episodes to restore, and Bergh describes the principles of sound fidelity that guide his restoration work. Series: "Carsey-Wolf Center" [Show ID: 35806]

The challenge of blending three sound sources, the kinescope recording system, and the multimedia afterlives of 1950s television programs all arise in this conversation between film professor Ross Melnick, UCLA archivist Mark Quigley, and sound engineer Nicholas Bergh about the ABC television program Stars of Jazz. In this video, Quigley discusses the process of selecting which episodes to restore, and Bergh describes the principles of sound fidelity that guide his restoration work. Series: "Carsey-Wolf Center" [Show ID: 35806]

The challenge of blending three sound sources, the kinescope recording system, and the multimedia afterlives of 1950s television programs all arise in this conversation between film professor Ross Melnick, UCLA archivist Mark Quigley, and sound engineer Nicholas Bergh about the ABC television program Stars of Jazz. In this video, Quigley discusses the process of selecting which episodes to restore, and Bergh describes the principles of sound fidelity that guide his restoration work. Series: "Carsey-Wolf Center" [Show ID: 35806]

The challenge of blending three sound sources, the kinescope recording system, and the multimedia afterlives of 1950s television programs all arise in this conversation between film professor Ross Melnick, UCLA archivist Mark Quigley, and sound engineer Nicholas Bergh about the ABC television program Stars of Jazz. In this video, Quigley discusses the process of selecting which episodes to restore, and Bergh describes the principles of sound fidelity that guide his restoration work. Series: "Carsey-Wolf Center" [Show ID: 35806]

The challenge of blending three sound sources, the kinescope recording system, and the multimedia afterlives of 1950s television programs all arise in this conversation between film professor Ross Melnick, UCLA archivist Mark Quigley, and sound engineer Nicholas Bergh about the ABC television program Stars of Jazz. In this video, Quigley discusses the process of selecting which episodes to restore, and Bergh describes the principles of sound fidelity that guide his restoration work. Series: "Carsey-Wolf Center" [Show ID: 35806]

After her debut record, new music trumpeter Stephanie Richards follows up with a premiere of works from her latest project. Using New York City as a backdrop, Richards selected poems from icons including Langston Hughes, Maya Angelou, and Allen Ginsberg to name a few, and has crafted music for quartet that explores a spontaneous prose of grit and brilliance; the ugly beauty of the city. Presented by Fresh Sound In conjunction with Hearing the Future, the San Diego Symphony’s fourth annual January Festival, and the Festival of New Trumpet Music (FONT) West. [Arts and Music] [Show ID: 34392]

After her debut record, new music trumpeter Stephanie Richards follows up with a premiere of works from her latest project. Using New York City as a backdrop, Richards selected poems from icons including Langston Hughes, Maya Angelou, and Allen Ginsberg to name a few, and has crafted music for quartet that explores a spontaneous prose of grit and brilliance; the ugly beauty of the city. Presented by Fresh Sound In conjunction with Hearing the Future, the San Diego Symphony’s fourth annual January Festival, and the Festival of New Trumpet Music (FONT) West. [Arts and Music] [Show ID: 34392]

The Beatles' final concert, their late-era conflicts, and the complicated history of director Michael Lindsay-Hogg’s Let It Be documentary all arise in this discussion between musician Alan Parsons and Music Professor David Novak (UC Santa Barbara). Parsons was a teenage sound engineer at Abbey Road studios when he was assigned to record audio for the Beatles as they worked through this iconic album. Novak draws Parsons into dialogue about recording equipment, studio layouts, and the musical personalities of each member of the band. Series: "Carsey-Wolf Center" [Humanities] [Arts and Music] [Show ID: 34489]

The Beatles' final concert, their late-era conflicts, and the complicated history of director Michael Lindsay-Hogg’s Let It Be documentary all arise in this discussion between musician Alan Parsons and Music Professor David Novak (UC Santa Barbara). Parsons was a teenage sound engineer at Abbey Road studios when he was assigned to record audio for the Beatles as they worked through this iconic album. Novak draws Parsons into dialogue about recording equipment, studio layouts, and the musical personalities of each member of the band. Series: "Carsey-Wolf Center" [Humanities] [Arts and Music] [Show ID: 34489]

The Beatles' final concert, their late-era conflicts, and the complicated history of director Michael Lindsay-Hogg’s Let It Be documentary all arise in this discussion between musician Alan Parsons and Music Professor David Novak (UC Santa Barbara). Parsons was a teenage sound engineer at Abbey Road studios when he was assigned to record audio for the Beatles as they worked through this iconic album. Novak draws Parsons into dialogue about recording equipment, studio layouts, and the musical personalities of each member of the band. Series: "Carsey-Wolf Center" [Humanities] [Arts and Music] [Show ID: 34489]

The Beatles' final concert, their late-era conflicts, and the complicated history of director Michael Lindsay-Hogg’s Let It Be documentary all arise in this discussion between musician Alan Parsons and Music Professor David Novak (UC Santa Barbara). Parsons was a teenage sound engineer at Abbey Road studios when he was assigned to record audio for the Beatles as they worked through this iconic album. Novak draws Parsons into dialogue about recording equipment, studio layouts, and the musical personalities of each member of the band. Series: "Carsey-Wolf Center" [Humanities] [Arts and Music] [Show ID: 34489]

The Beatles' final concert, their late-era conflicts, and the complicated history of director Michael Lindsay-Hogg’s Let It Be documentary all arise in this discussion between musician Alan Parsons and Music Professor David Novak (UC Santa Barbara). Parsons was a teenage sound engineer at Abbey Road studios when he was assigned to record audio for the Beatles as they worked through this iconic album. Novak draws Parsons into dialogue about recording equipment, studio layouts, and the musical personalities of each member of the band. Series: "Carsey-Wolf Center" [Humanities] [Arts and Music] [Show ID: 34489]

The Beatles' final concert, their late-era conflicts, and the complicated history of director Michael Lindsay-Hogg’s Let It Be documentary all arise in this discussion between musician Alan Parsons and Music Professor David Novak (UC Santa Barbara). Parsons was a teenage sound engineer at Abbey Road studios when he was assigned to record audio for the Beatles as they worked through this iconic album. Novak draws Parsons into dialogue about recording equipment, studio layouts, and the musical personalities of each member of the band. Series: "Carsey-Wolf Center" [Humanities] [Arts and Music] [Show ID: 34489]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Should your art send you to prison? Rap lyrics are increasingly turning up as evidence in courtrooms across the country. The fictional characters portrayed in violent gansta rap songs are often a far cry from the true personalities of the artists behind them, yet uninitiated audiences easily conflate artist with character and fiction with fact. On a broader scale, using rap lyrics as evidence in criminal cases also raises questions about artistic freedom, freedom of speech and the rights of all citizens to receive a fair trial. UC Irvines Charis E. Kubrin, Ph.D and Adam Dunbar explore these issues. Series: "Zot Talks" [Humanities] [Arts and Music] [Show ID: 31368]

Jazz has been hailed as "America's original art form," and the annual Jazz Camp at UC San Diego is a five-day immersive summer program designed for intermediate to advanced level jazz musicians, ages 14–adult. Students work directly with internationally renowned jazz artists, exploring styles ranging from classic bebop to contemporary open-form. The Camp culminates in a finale concert performed by eight student ensembles, each under the direction of a faculty member. This program showcases an ensemble mentored by saxophonist Charles McPherson. Series: "UC San Diego Jazz Camp" [Arts and Music] [Show ID: 33929]

Jazz has been hailed as "America's original art form," and the annual Jazz Camp at UC San Diego is a five-day immersive summer program designed for intermediate to advanced level jazz musicians, ages 14–adult. Students work directly with internationally renowned jazz artists, exploring styles ranging from classic bebop to contemporary open-form. The Camp culminates in a finale concert performed by eight student ensembles, each under the direction of a faculty member. This program showcases an ensemble mentored by saxophonist Charles McPherson. Series: "UC San Diego Jazz Camp" [Arts and Music] [Show ID: 33929]

Jazz has been hailed as "America's original art form," and the annual Jazz Camp at UC San Diego is a five-day immersive summer program designed for intermediate to advanced level jazz musicians, ages 14–adult. Students work directly with internationally renowned jazz artists, exploring styles ranging from classic bebop to contemporary open-form. The Camp culminates in a finale concert performed by eight student ensembles, each under the direction of a faculty member. This program showcases an ensemble mentored by saxophonist Charles McPherson. Series: "UC San Diego Jazz Camp" [Arts and Music] [Show ID: 33929]

Jazz has been hailed as "America's original art form," and the annual Jazz Camp at UC San Diego is a five-day immersive summer program designed for intermediate to advanced level jazz musicians, ages 14–adult. Students work directly with internationally renowned jazz artists, exploring styles ranging from classic bebop to contemporary open-form. The Camp culminates in a finale concert performed by eight student ensembles, each under the direction of a faculty member. This program showcases an ensemble mentored by saxophonist Charles McPherson. Series: "UC San Diego Jazz Camp" [Arts and Music] [Show ID: 33929]

Jazz has been hailed as "America's original art form," and the annual Jazz Camp at UC San Diego is a five-day immersive summer program designed for intermediate to advanced level jazz musicians, ages 14–adult. Students work directly with internationally renowned jazz artists, exploring styles ranging from classic bebop to contemporary open-form. The Camp culminates in a finale concert performed by eight student ensembles, each under the direction of a faculty member. This program showcases an ensemble mentored by flutist Holly Hofmann. Series: "UC San Diego Jazz Camp" [Arts and Music] [Show ID: 33928]

Former Poet Laureate Robert Pinsky describes himself as a "composer" who considers poetry to be first and foremost a vocal art, and his work seeks to blur the distinctions between language and music by emphasizing the rhythms and innate physicality of recited verse in a jazz context. In this performance for the 22nd Writer's Symposium by the Sea at Point Loma Nazarene University, Pinsky's reading is accompanied by a talented trio of PLNU students. The music - a blend of rehearsed and improvised - employs a variety of jazz styles, sometimes sympathetic and sometimes in playful counterpoint, but always responsive to the poet's distinctive voice. Series: "Writer's Symposium By The Sea" [Humanities] [Arts and Music] [Show ID: 30820]

Jazz made its path abroad in 1918 during the “Great War” when one black officer, Lt. James Reese Europe, volunteered for service with members of his Harlem Society Orchestra, forming the 369th Regimental Band. Because the U.S. Army did not allow black soldiers to fight alongside white comrades, the soldiers instead fought with the French and earned the moniker “Hellfighters,” along with the Croix de Guerre for their heroism. The Harlem Hellfighters also brought jazz with them, and from Paris the music spread around the globe, becoming the rhythm of the 20th century. The 19th Annual Lytle Benefit Concert pays homage to the Harlem Hellfighters' enduring legacy and raises scholarship funds for promising students attending the Preuss School at UC San Diego. Series: "Rebecca Lytle Memorial Concerts" [Arts and Music] [Show ID: 29489]