Celebrating The New Yorker's Cartoonists

Summary

Podcast Summary: ALL OF IT with Alison Stewart Episode: Celebrating The New Yorker's Cartoonists
Host: Alison Stewart, WNYC
Release Date: December 19, 2024

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Introduction

In this engaging episode of ALL OF IT, host Alison Stewart delves into the vibrant world of The New Yorker cartoons, celebrating the magazine's illustrious legacy as it marks its 100th anniversary. The episode spotlights the new book, At Wit's End: Profiling Cartoonists of The New Yorker, which honors the cartoonists who have shaped the publication's unique voice over the decades.

Spotlight on the Book: At Wit's End

Alison Stewart introduces the episode by highlighting The New Yorker's multifaceted content, emphasizing the beloved cartoons that have become a hallmark of the magazine. She describes the new book, At Wit's End, which serves as an elegantly designed showcase of cartoonists like Harry Bliss, Roz Chast, and Liza Donnell. The book pays tribute to both current contributors and those who have passed, such as Michael Crawford and Ed Fisher, each leaving an indelible mark on the magazine’s cultural tapestry.

[00:25] Alison Stewart: "It's called the book an elegantly designed showcase. The authors join me now in studio to discuss."

Guest Introduction

Alison welcomes two key guests to the discussion:

• Michael Maslin: A seasoned cartoonist and contributor to The New Yorker.
• Alan McQueenie: A world-renowned photographer tasked with capturing the essence of these cartoonists through his lens.

[01:26] Michael Maslin: "Thank you."

The Role of Cartoons in Society

Michael Maslin discusses the enduring significance of cartoons, asserting that their role remains as crucial today as it has been for a century. He emphasizes the fundamental objective of cartoons: to observe, interpret, and depict societal nuances in a manner that resonates or amuses readers.

[02:14] Michael Maslin: "I think it's as important today as it has been for 100 years at the magazine."

He notes the evolution in the number of cartoonists, shifting from a small, intimate group to a diverse and expansive community, reflecting the magazine's growth and the changing dynamics of cultural expression.

[02:56] Michael Maslin: "The actual number of cartoonists that we have has changed in a huge way."

Alan McQueenie’s Photographic Journey

Alan McQueenie shares his extensive experience photographing The New Yorker cartoonists, starting with an assignment in 1978 for Esquire magazine. His journey took a pivotal turn in 2012 when he began photographing cartoonists for a special issue, eventually leading to the creation of At Wit's End.

[03:23] Alan McQueenie: "An assignment from another magazine, actually Esquire magazine... I began approaching The New Yorker to run a cartoonist every week as the hidden asset of the magazine."

Alan discusses the unique challenges of capturing the personalities of cartoonists through photography, striving to reflect their humor and individuality in each portrait.

[05:15] Alan McQueenie: "Everyone is totally different, obviously, and everyone has a different way of thinking. And it's that sliver of difference that I hope to find in taking a portrait."

Listener Engagement and Favorite Cartoons

Throughout the episode, Alison invites listeners to share their favorite New Yorker cartoons and discusses their personal connections to them. Several callers share beloved cartoons that have left lasting impressions or resonate with personal experiences.

Notable Listener Calls:

1. Richard from Armonk:

   • Favorite Cartoon: Two snails observing a scotch tape dispenser.
   • [06:00] Listener: "I don't care if she's a tape dispenser. I Love her."
   • Michael Maslin: "He's talking about Sam Gross, I believe."

2. Nick from Manhasset:

   • Favorite Cartoon: A man speaking on the phone with the caption, "how about never? Does never work for you?"
   • [10:23] Listener: "It just speaks... resonates with me at this time in our history."

   The cartoonist Bob Mankoff is identified as the creator, with Alan confirming:

   [11:00] Alan McQueenie: "Bob Mankoff, the former cartoon editor of The New Yorker, was probably his signal cartoon."

3. Charlotte from New Jersey:

   • Favorite Cartoon: George Booth’s depiction of manic women and befuddled husbands.
   • [12:16] Listener: "He was a gardener, so it spoke to him."

4. Marcia from Manhattan:

   • Favorite Cartoon: A Justice on the Supreme Court flipping a daisy between "constitutional" and "unconstitutional."
   • [16:26] Listener: "That stayed with me."

5. Fatima from Manhattan:

   • Shares her inspiration from The New Yorker cartoons in writing her book on racism, highlighting the power of visual storytelling.

   [17:00] Fatima: "So much more can be conveyed through the visual representation than just the text on a page."

In-Depth Discussion on Specific Cartoonists

Roz Chast

Roz Chast is lauded for her distinctive style and unique perspective that set her apart from other cartoonists.

[13:16] Michael Maslin: "She was, you know, we all know her. Roz is... she gives us her world, and it's funny as heck."

Alan shares a behind-the-scenes look at her creative space, including her collection of religious icons and a parrot, which inspired one of his photographs.

[14:09] Alan McQueenie: "I photographed her in her studio first... she has a marvelous collection of art and also had a parrot."

Ed Koren

The episode pays tribute to Ed Koren, a beloved cartoonist who passed away in 2023 after a remarkable six-decade career.

[15:14] Michael Maslin: "Ed was the pioneer who really changed what had been to the modern times... No one had ever had these big, giant, furry beasts before."

Michael reflects on Ed's innovative contributions and his ability to capture cultural moments, highlighting Ed's legacy within the magazine.

The Creative Process and Challenges

Alan discusses the challenges of portraying cartoonists, aiming to capture not just their appearance but the essence of their humor and creativity. The collaboration between Alan and Michael emphasized a dynamic and authentic representation.

[07:41] Alan McQueenie: "Catching a spirit of the moment, really, in a photograph."

Michael elaborates on the thoughtful process behind the essays in the book, ensuring each cartoonist’s unique story and approach are highlighted without adhering to a rigid format.

[08:47] Michael Maslin: "I approached each one of them as a brand new thing, as if the others didn't exist."

Insights on the Evolution of The New Yorker

Michael touches on the rapid changes within The New Yorker, contrasting its formerly slow, "glacial" evolution with its current dynamic and fast-paced environment. This shift necessitated a careful selection of cartoonists who could sustain their creative contributions in this new landscape.

[06:25] Alison Stewart: "Let's talk to Nick from Manhasset... It changes more quickly than it used to change."

Audience Reflections and Personal Connections

Listeners share heartfelt connections to specific cartoons that mirror personal experiences or family memories. These stories underscore the profound impact The New Yorker cartoons have on individual lives, blending humor with relatable scenarios.

Concluding Thoughts

In wrapping up, Alison Stewart emphasizes the significance of the cartoonists’ contributions to The New Yorker and their role in reflecting and shaping societal narratives. Both Michael and Alan express their appreciation for the cartoonists' ability to capture the "underside" of life, providing daily reflections that inspire and provoke thought.

[20:53] Alan McQueenie: "It's the flip side of life and we don't expect it. And it's only that that wakes us up in the morning when we open the magazine."

[21:25] Michael Maslin: "I'm still thinking about underside of, but didn't ask you to define that, but I think that's good."

Final Remarks

Alison Stewart thanks her guests, Michael Maslin and Alan McQueenie, for their invaluable insights and contributions to celebrating The New Yorker’s cherished cartoonists through the book At Wit's End.

[22:17] Alison Stewart: "The name of the book is At Wit's End: Profiling Cartoonists of The New Yorker. It's really quite beautiful. My guests have been Alan McQueenie and Michael Maslin. Thank you for coming in."

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Key Takeaways:

• The New Yorker's cartoons continue to play a vital role in cultural commentary and societal reflection.
• The book At Wit's End offers a comprehensive and beautifully designed tribute to the cartoonists who have shaped The New Yorker over the past century.
• Personal stories from listeners illustrate the deep, lasting impact of these cartoons on individuals' lives.
• The collaborative efforts of cartoonists, photographers, and editors highlight the evolving landscape of cultural expression within the magazine.

For more insights and stories about culture and its creators, tune into future episodes of ALL OF IT on WNYC.

Transcript

[Listener]

Listener support WNYC Studios.

[Alison Stewart]

This is all of it on wnyc. I'm Alison Stewart. The New Yorker magazine is known for its serious reporting, cultural coverage, fiction, interviews. But for many it is beloved for its cartoons. Now a new book is spotlighting the people behind the art in honor of the institution's 100th birthday. It's titled At Wit's Cartoonists of the New Yorker. For example, there's a picture of people walking their dog and then you realize one is a kangaroo and the woman says it has pockets. Or the lumberjack who fells a tree and it's supposed to show the rings around, but it shows munches the scream. It is filled with striking portraits of well known cartoonists such as Harry Bliss, Roz Chass and Liza Donnell. There's recognition of those who have passed, like Michael Crawford who was known for his ability to capture cultural moments before anyone else. And Ed Fisher, who reportedly Contributed More than 700 cartoons in the print magazine. It called the book an elegantly designed showcase. The authors join me now in studio to discuss. Michael Maslin is a cartoonist and contributor to the New Yorker. Michael, welcome.

[Michael Maslin]

Thank you.

[Alison Stewart]

And also joining us is Alec McQueen, me, Alan McQueenie, he's a world renowned photographer. Nice to meet you.

[Alan McQueenie]

Thank you.

[Alison Stewart]

And you have your camera with you?

[Alan McQueenie]

I have a camera with me. Exactly.

[Alison Stewart]

Listeners, are you a fan of the New Yorker? What was a comic that made you laugh or made you think about a social issue or topic in a way you'll never forget? Our phone lines are open. Give us a call. 2124-3396-9221-2433-WNYC. Or you can reach out to us on social media at all of it. WNYC call or text. 2124-3396-9221-2433-WNYC. You have had a decades long career at the New Yorker, Michael. When you think about the role of cartoons in society, what is it today?

[Michael Maslin]

I think it's as important today as it has been for 100 years at the magazine. We're still doing the same thing in a different way, in a more modern way of course than we have always done. And that is that we look around us and we, it goes through our brains and our cartoon brains and then it, it does and something happens on paper and hopefully people find it either relevant or at least amusing. So our job is, has remained the same and I hope that we are still successful. I think we are.

[Alison Stewart]

What has been changed a little bit? Things have to have Changed a little bit over all this time?

[Michael Maslin]

Oh yeah. Well, plenty has changed. Styles, of course, have changed. The actual number of cartoonists that we have has changed in a huge way. It used to be a very small shop and now it's hundreds of people. It used to be maybe 30 or 40. So that's a huge difference.

[Alison Stewart]

Alan, when did you start taking pictures of these cartoonists?

[Alan McQueenie]

1978.

[Alison Stewart]

Wow. Wow.

[Alan McQueenie]

An assignment from another magazine, actually Esquire magazine. Bob Ciano, our designer of the book, assigned me to photograph half a dozen cartoonists. They never actually ran in the magazine because he had left sometime shortly after that. But he persisted in wanting to do a book with the photographs and he used those same six photographs that I did then in. Whenever he redesigned a magazine, they were always the ones he used. And so it went on, drippled on a little bit. Then it got going more quickly. In 2012, I began approaching the New Yorker to run a cartoonist every week as the hidden asset of the magazine. And they'd never been seen before, so I thought this would be a good idea. Anyway, they didn't have photographs in the magazine when I first approached, then went through another couple of editors and eventually I was assigned to photograph eight cartoonists for a special issue that was in 2014. So it kind of accelerated from that time. And then we got an agent and then the agent got us a contract and then we started getting down to it.

[Alison Stewart]

What's unique or different about taking a photograph of a cartoonist?

[Alan McQueenie]

Uh huh. That's really a tough one to ask me. Michael is here. I couldn't say in front of him.

[Michael Maslin]

Go ahead, speak your mind.

[Alison Stewart]

What's something that's unique about that?

[Alan McQueenie]

I think there, you know, there's always a resource of humor in every cartoonist, even if they seem gloomy and rather nihilistic at first meeting. But things change and we had a great time and I've enjoyed it. Mostly I've really enjoyed photographing them. And everyone is totally different, obviously, and everyone has a different way of thinking. And it's that sliver of difference that I hope to find in taking a portrait.

[Alison Stewart]

Let's take some callers. Richard is calling from Armonk. Hi Richard, thank you so much for calling wnyc.

[Listener]

Hi Alison. I've listened to you for years. I love you. My first time ever calling into a radio show. My favorite cartoon is two snails are looking across and they see a scotch tape dispenser. And one of them says, I don't care if she's a tape dispenser. I Love her.

[Alison Stewart]

Such a good one. Thank you so much for calling. I know the one exactly.

[Michael Maslin]

He's talking about Sam Gross, I believe.

[Alison Stewart]

Oh, very good. This says text on the Internet. Nobody knows you're a dog. Jack from Brooklyn. When you entered this project, Michael, what were some of the conversations you had about who to include in the book? What to include in the book?

[Michael Maslin]

Oh, that was a lot of conversation. We. I don't know if the word is struggled, but we spent a lot of time thinking about who should be in. One of the things. To go back to your first question, one of the things about the New Yorker now is that it changes more quickly than it used to change. New Yorker was known for its glacial progress. It's not glacial anymore. It changes very quickly. So one of the things I think we were concerned about was let's find people who we think will be around for a while. And so that was on our minds. And so far, so good, I think, with everyone.

[Alan McQueenie]

Yeah.

[Alison Stewart]

Some of the photos, Alan, are just really funny. Some of them are hilarious. There's Gahan Wilson getting a haircut, but he looks anxious. Barry Blitz, he's peeking over a desk with his nose on the surface of the table. How did you decide you could have just taken formal photographs, formal portraits, but you chose not to?

[Alan McQueenie]

No. Well, I mean, there was kind of an idea in the background that they should be humorous, the photographs. But I don't actually. I don't think I ever take humorous photographs. But things are certainly somewhat whimsical, sometimes theatrical. The haircut, Barry Blitz, nose on his drawing table, and his false teeth, the false teeth, whatever they are not. The false teeth beside him, just seemed. And it's just catching a spirit of the moment, really, in a photograph. And sometimes when I had an assistant, it was easier. Sometimes I was alone and it was slower. But we kind of figured it out. We're all more or less in the same boat.

[Alison Stewart]

Michael, what did you want to make sure that the essays. What did you want to make sure that people could understand about the cartoonist from the essays?

[Michael Maslin]

Often when I read things, I like to read things and think, how would I have done it to make it interesting for myself? And so that's what I did with these. I approached each one of them as a brand new thing, as if the others didn't exist. And I thought, what do I want to know about these people? I looked at their work, I read up on them. I looked at videos, if there were videos. And I thought. I looked at Alan's photos and I thought, what Do I want to know more about these folks? So that's how I approached each one. It was a new challenge. There was no format. In fact, we talked about format in the beginning. I said, I don't want a format. I want to stay away from that. I want to be surprised as I go into each one. So I'm hoping that my fascination with each of these people carries through to everybody else.

[Alison Stewart]

Photographer Alan McQueenie and cartoonist Michael Maslin are here to discuss the new book Profiling Cartoonist of the New Yorker. It's titled At Wit's End. Listeners are are you a fan of the New Yorker magazine? How long have you been a reader? What was a comic that made you laugh or made you think about a social issue or a topic in a way that you won't forget? Please call us or text us. 2124-3396-9221-2433. WNYC. We're getting a lot of calls. Let's talk to Nick from Manhasset. Hi, Nick.

[Listener]

Yes, hi. Mine is cartoon. It's a man sitting at a desk and he's speaking on the telephone. And the caption says, how about never? Does never work for you?

[Alison Stewart]

So tell us why you like that.

[Listener]

Do you know the name? Well, it's kind of iconic. I mean, it's just timeless. It just, it's economical in terms of the words, but it just says so much and it just speaks. I think it resonates with me at this time in our history. It's snarky, but it's witty. And as I said, it's kind of evergreen. It's not tied to a specific point in time. Do either of you guessed know the name of the cartoonist that created that?

[Michael Maslin]

Yeah, we both do.

[Alan McQueenie]

Both nodding yes, we both do.

[Michael Maslin]

Go ahead, Alan.

[Alan McQueenie]

Bob Mankoff, the former cartoon editor of the New Yorker, was probably his signal cartoon.

[Michael Maslin]

Absolutely.

[Alan McQueenie]

That will be memorized for forever.

[Alison Stewart]

It's sort of funny. Back in the day, back in 2000, 2008, we used to, I think it was Bob came on my NPR show, this thing called a podcast they used to call him back then. And we did New Yorker cartoonists that didn't make it right. And we would do like fake voices. It was hilarious. We thought it was hilarious. What does it take to make it as a New Yorker cartoon?

[Michael Maslin]

Lots of luck.

[Alison Stewart]

Lots of luck.

[Michael Maslin]

Yeah. Lots of luck and persistence. Those are the two big ones, I think. But luck really is huge. I've been through four or five sets of editors, and you are your life at the New Yorker is dependent on getting through the first editor, the cartoon editor, and then, of course, the senior editor. And I've gone from William Shawn and Leigh Lorenz up to who we have now with many configurations in between. So luck, luck.

[Alison Stewart]

Let's talk to Charlotte from New Jersey. Hi, Charlotte. Thank you for calling wnyc.

[Listener]

Hi. I grew up with the New Yorker. My parents were. Loved it. My father especially just loved it. And one of his favorite cartoons, he's long gone but was George Booth. Loved all his cartoons, which always had sort of manic women and befuddled husbands sitting in big armchairs and watching these wives go crazy. And my favorite one, and his was racing across the living room, a woman with a spray can in her hand going aphids on the heliotrope. And that was it. And he was a gardener, so it spoke to him.

[Alison Stewart]

Thank you so much for calling. You can hear people are just laughing as they're calling the cartoons, which is such a great thing. Let's talk about some of the cartoonists. Roz Chast. We'll start with Roz Chast. Her first drawing was little things in 1978. What was interesting about her work?

[Michael Maslin]

Well, it was completely different than anything the magazine had seen before. And that's why, you know, we all know her. When someone comes along that's that different, like Steinberg or Charles Adams or Peter Arnault, James Thurber, we remember. We remember the firsts. And she was, you know, she's in her own little thing there. Ros is. And she doesn't have any, as far as I know. I don't think there's anybody around that's doing her. But she's just this wonderful cartoonist who gives us. I'll use it just once, I hope. World. She gives us her world, and it's funny as heck.

[Alison Stewart]

All right. I'm going to ask you about the picture I have of Roz.

[Alan McQueenie]

Yes.

[Alison Stewart]

And she's got a bird, a real bird on her finger. Tell us a little bit about this picture.

[Alan McQueenie]

Well, I photographed her in her studio first, which is full of interesting religious icons, which one photograph is in the book of that? And then we went down. She has a marvelous collection of art and also had a parrot. And so obviously the parrot sparked things up a bit. So I think that's how that picture came about.

[Alison Stewart]

This text says, my favorite cartoon is a picture of a human ziti on the phone saying, fusilli, you crazy bastard, how are you? Over the years, nothing has made me laugh harder. This scene, surly waiter leaning down on a customer at the table saying, quote, it's Brooklyn clam chowder. You got a problem with that now? It's funny, there's no accent, but I recently read it like I'm from Brooklyn.

[Michael Maslin]

Jersey accent you need.

[Alison Stewart]

Oh, yeah, Well, I got that, too. Let's talk about Ed Koren, who passed away in 2023. He contributed for six decades. Is that right? What was his mark at the publication?

[Michael Maslin]

Well, just like Roz and all those other people I mentioned. And I was very pleased to have been friends with him for a long time. And we had lots of phone calls in the last year or so of his life. And it occurred to me at one point to tell him I had never really thought about it before. I said, ed, you know, people talk about the change in the mid-70s, but he started in the early 60s. And I said, I think you actually were the pioneer who really changed what had been to the modern times, because no one had ever had these big, giant, furry beasts before, doing things and acting as people. And that was hugely different. And I was really surprised when I started thinking about it. I was really surprised that James Garrity, the editor, art editor at that time, that he welcomed Ed in. I thought, wow, how great. It was really new. It was really different. Again, his mark is that he has done work that we will always remember. You look at any fuzzy beast and you know it's Ed Coren.

[Alison Stewart]

Let's talk to Marcia from Manhattan. Hi, Marcia.

[Listener]

Hi. Glad to be on your program. I love it, Alison. So a cartoon that I remember from many, many, many years ago. A justice sitting on the Supreme Court in his full black robes, holding a daisy and pulling the petals and saying, it's constitutional, it's unconstitutional, it's constitutional, it's unconstitutional. So that stayed with me.

[Alison Stewart]

Thank you so much for calling. Let's talk to Fatima from Manhattan. Hi, Fatima.

[Listener]

Hi. How are you doing?

[Alison Stewart]

Great.

[Listener]

Thanks for having me. I'm calling to talk about. Well, my mother is such a fan of cartoons and the New Yorker, and she's always sending me pictures of what she's seen in the new and cartoons all the time. And so that sort of inspired me. I wrote a book that came out earlier this year on racism called Race what your Black Friend Won't Tell youl. And I made sure that every single chapter has a visual representation, and that is impacted by my mother always sending me these cartoons and just recognizing that so much more can be conveyed through the visual representation than just the text on a page. And so, you know, I was inspired by. And I'll just say, like one of my favorite cartoons or rather illustrations in my book I have a chapter that talks about, you know, most racists, you know, look like your everyday person. And so it starts out with, you know, two people in a museum, you know, looking at a portrait on the wall and it's a guy who looks like he's from the 1700s. And underneath it it says, you know, portrait of a racist. And then the one guy is saying to the other guy, he looks like someone I know. And then the other guy says, who? But then the guy who says who looks just like the guy in the portrait, except he's wearing contemporary clothing.

[Alison Stewart]

Yeah. Thank you so much for joining. Do people write about what the cartoons mean to them? Do they write to the magazine that I don't know.

[Michael Maslin]

I know that there used to be mail, either fan mail or whatever the opposite of fan mail is. And I haven't gotten a letter in years, so I don't know.

[Alison Stewart]

That's interesting. Let's talk about Maggie Larson. You have a picture of her here. She's against this looks like a board of a refrigerator. A refrigerator, yes. Yeah, very funny. And then the next picture of her, there's two pictures and it's a picture for holding up something she drew with a special pencil. Yes.

[Alan McQueenie]

I'm not sure she actually drew that because it's basically, it's what's called horror vacui. It's every inch of space of the canvas or the paper is filled with drawing. And I thought it was such an unusual piece that was in her apartment that I asked her to take it down. And so that was the, that was. Oh, that's interesting, the process of taking the photograph.

[Alison Stewart]

Let's talk to Chris on the Upper west side. Hi, Chris. Do you have Chris for me? Yes. No, Maybe. So, yeah, there are. Chris. Hi.

[Listener]

Hi. I requested a subscription to the New Yorker magazine when I was 13 and I've been subscribing ever since. And I remember a particular cartoon of two women sitting in a very cozy, padded restaurant booth with cocktails in their hand. And one woman leans forward and says, God, is there anything more seductive than passion? And I love that cartoon because I had just met my to be husband and he was the most passionate man I ever met in my life. And it's a tribute to him and I've never forgotten that photograph.

[Alison Stewart]

Thank you so much. Let's talk to Marianne from Manhattan. Hi, Marianne.

[Listener]

One of my favorite cartoons that's on the wall of my office is too like Godzilla Beast trampling Manhattan. And they've got handfuls of human beings in their fists. And one turns to the other and says, of course you feel good. These things are full of antidepressants.

[Alison Stewart]

That's so funny. The truths that we learn about ourselves. Right. What's one thing you want people to understand about the folks who contribute to the New Yorker who are cartoonists? What do you think, Alan?

[Alan McQueenie]

Hmm. I. It's sort of like the underside of what we expect. It's the flip side of life and we don't expect it. And it's only that that wakes us up in the morning when we open the magazine. What do you do? You look at the cartoons.

[Michael Maslin]

True.

[Alan McQueenie]

Before you read it. And it's. That kind of stirs you up and encourages one to read. Michael?

[Alison Stewart]

Yeah.

[Alan McQueenie]

It's a pleasure.

[Alison Stewart]

What do you think?

[Michael Maslin]

I'm still thinking about underside of, but didn't ask you to define that, but I think that's good. I like what you said. Yeah.

[Alan McQueenie]

Come on. You don't have to agree with me.

[Michael Maslin]

No, I do. I do. No, I do. I was thinking, actually, I was thinking also of an earlier question. If I just. Quick. Sure, please, go for it. When you were asked what it was like seeing people in there, maybe they were a little surly or something. You have to understand, most of us work at home alone and we're not used to somebody being, you know, looking at us, especially really looking at us. So I think, you know, it was probably difficult for a while until you eased in, had some coffee, accept the Invasion. Yeah, yeah.

[Alison Stewart]

Except the Invasion.

[Alan McQueenie]

Yes, exactly.

[Alison Stewart]

The name of the book is At Wit's Cartoonists of the New Yorker. It's really quite beautiful. My guests have been Ally MacSweeney and Michael Maslin. Thank you for coming in.

[Michael Maslin]

Thank you.

[Alan McQueenie]

Thank you very much.

[Listener]

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[Alison Stewart]

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[Listener]

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