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This time we have a very special episode of The Scores Are Not Enough, and we are stepping directly into the glamorous, dangerous, and sonically spectacular world of cinema’s greatest secret agent. But we aren't just talking about the movies—we are talking about the music. The soaring brass, the sweeping strings, and the iconic themes that define the legendary 007 legacy. Joining us for this special edition is a man who doesn’t just appreciate that sound; he lives it, breathes it, and brings it to life on stages all over the world. He is the director, conductor, and driving force behind Q The Music Show—the world’s premier James Bond tribute orchestra. Coming from an extraordinary musical pedigree as the son of legendary UK orchestral trumpeter Paul Ringham, he has built a powerhouse production that brings Hollywood-level scores to live audiences with breathtaking precision. Tonight on The Scores Are Not Enough, we’re going behind the curtain. We'll be diving into the secret sauce of transcribing John Barry’s massive arrangements, the unique psychology of conducting elite UK session players—including some who actually played on the original film soundtracks—and what it really takes to keep a massive touring production on the rails. Please give a massive, warm welcome to our special guest, the maestro of the Bond sound himself: Warren Ringham! All music featured on this podcast is performed by The Q The Music Show Band. The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Amazon MGM Studios, United Artists, EON Productions Ltd, Metro-Goldwyn-Mayer Studios Inc., Columbia/Sony Pictures, Ian Fleming Publications, or Danjaq LLC. It is not supported or endorsed in any way by the aforementioned. The 007 Logo and James Bond copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the James Bond films for the Fans of 007 worldwide.Copyright information pertaining to all other content is listed below:-James Bond Character created by Ian Fleming.Copyright © Ian Fleming Publications Ltd.007 Gun Symbol Logo © 1962 Danjaq S.A. and United Artists CorpDr. No © 1962 Danjaq S.A. and United Artists Corp.From Russia With Love © 1963 Danjaq S.A. and United Artists Corp.Goldfinger © 1964 Danjaq S.A. and United Artists Corp.Thunderball © 1965 Danjaq S.A. and United Artists Corp.You Only Live Twice © 1967 Danjaq S.A. and United Artists Corp.On Her Majesty's Secret Service © 1967 Danjaq S.A. and United Artists Corp.Diamonds are Forever © 1971 Danjaq S.A. and United Artists Corp.Live And Let Die © 1973 Danjaq S.A. and United Artists Corp.The Man With The Golden Gun © 1974 Danjaq S.A. and United Artists Corp.The Spy Who Loved Me © 1977 Danjaq S.A. and United Artists Corp.Moonraker © 1979 Danjaq S.A. and United Artists Corp.For Your Eyes Only © 1981 Danjaq S.A. and United Artists Corp.Octopussy © 1983 Danjaq S.A. and United Artists Corp.Never Say Never Again © 1983 Warner Bros and Columbia EMI. A View To a Kill © 1985 Danjaq S.A. and United Artists Pictures Inc.The Living Daylights © 1987 Danjaq S.A. and United Artists Pictures Inc.Licence To Kill ©1989 Danjaq S.A. and United Artists Pictures Inc.GoldenEye ©1995 Danjaq Inc. and United Artists Pictures IncTomorrow Never Dies © 1997 Danjaq LLC. and United Artists Pictures Inc.The World is Not Enough © 1999 Danjaq S.A. and United Artists Pictures Inc.Die Another Day © 2002 Danjaq LLC. & MGMCasino Royale © 2006 Danjaq LLC MGM & Columbia Pictures SONYQuantum Of Solace © 2008 Danjaq LLC MGM & Columbia Pictures SONYSkyfall © 2012 Danjaq LLC. MGM & Columbia Pictures. (SONY)Spectre © 2015 Danjaq LLC. MGM & Columbia Pictures. (SONY)No Time To Die © Danjaq LLC. UA Releasing,MGM & Universal Pictures Hosted on Acast. See acast.com/privacy for more information.

For this episode forget the headphones—replace them with a blue bra and hook up the Barbie doll electrodes, because you’re listening to the ultimate deep-dive into the music of Weird Science! I’m your host, and today we are breaking the laws of nature to bring you the synths, the punk, and the unreleased score that made John Hughes’ wildest experiment absolute rock royalty. Joining me to engineer this masterclass in 1985 synth-pop is a man whose musical hot takes are nothing short of a total nuclear shower—returning guest, social media sensation, and absolute fan favourite, Tim Grey, AKA the legendary Bibi Dahl! But is this the most bonkers sci-fi fantasy soundtrack of the 80’s? There’s only one way to find out; let’s dive in! The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Hughes Entertainment, Silver Pictures or Universal Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Weird Science Score written and performed by Ira Newborn. Weird Science - Written by Danny Elfman and performed by Oingo Boingo Private Joy - written by Prince and performed by Cheyne The Circle - written by and performed by Max Carl Turn It On - written by Mike Champman and Holly Knight and performed by Kim Wilde Deep In The Jungle - written by Marc Moreland, Chas T. Gray, and Bruce Morelandand performed by Wall Of Voodoo Why Don't Pretty Girls Look At Me? written by Zowie Wainwright, Bob Wainwright, Daniel Peacock, Simon Smith, and Tony Bodymead.and performed by The Wild Men Of Wonga Method To My Madness - written by Stive Bators and Brian James and performed by The Lords Of The New Church Eighties - written and performed by Killing Joke Soundtrack released through MCA records, all rights reserved. She Blinded Me With Science - written and performed by Thomas Dolby, released through Venice in Peril, EMI & Capitol records, 1982, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Welcome back, film music buffs! Today, we are strapping into our flight suits and preparing for liftoff as we expose the truth behind Jerry Goldsmith’s powerhouse score for Capricorn One. If you thought NASA could pull off a hoax without some seriously propulsive brass, you are vastly mistaken—this soundtrack is so good it should be classified as a state secret. Joining us to break down the musical conspiracy is a man who knows a thing or two about top-secret operations, high-octane stunts, and dangerous liaisons: long-term James Bond Radio contributor, Brian Dobson! Brian is a certified adrenaline junkie who has literally bungee-jumped off the GoldenEye dam, but today we’re trading the tuxedo for a space suit to see if Jerry's themes can survive the harsh desert terrain. So, grab your headphones, watch out for black helicopters, and let's get tracking before this episode gets entirely scrubbed by shady government men! The Scores Are Not Enough is an unofficial entity, and in no way affiliated with New World Pictures or Orion Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed and conducted by Jerry Goldmith, performed by the London Symphony Orchestra, copyright 1978 Warner Brothers Records, all rights reserved. 'Life On Mars?' written by David Bowie, performed by Jessica Lange, copyright 2014 Hollywood Records, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the podcast where we don't just talk about cinema—we make an ape-solute song and dance about it! Today, we are swinging into the concrete jungle to celebrate John Barry’s legendary 1976 score for King Kong, and I’m joined by a total silverback-to-back favorite on this channel, my good friend Steve Brownett-Gale! Steve is here to help me unwrap this musical beast without monkeying around, beating our chests in admiration as we scale the creative heights of this soundtrack. We will be deep-diving into the sensual, mist-shrouded beauty of "Arrival On The Island" and trying not to lose our minds during the panic of "Kong Hits The Big Apple." It is going to be a wild, primate-time listen that will drive you bananas, so grab your headphones and hold on tight! The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Paramount Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed and conducted by John Barrysoundtrack release via Reprise Records 1976, all rights reserved. ‘Ape Man' written by Ray Davies and performed by The Kinks. Released through Pye / Reprise records 1970 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

For todays episode, we are skipping the soup with the eyeballs and diving headfirst into the musical mines of John Williams' 1984 masterpiece! We are breaking down the score for Indiana Jones and the Temple of Doom, and trust me, when it comes to orchestrations this wild, anything goes! To make sure we don't accidentally fall into a death trap of bad musical analysis, I am thrilled to be joined by the legendary Erik Woods of the Cinematic Sound Radio Podcast. Together, we will be marching through a slave children's crusade of frantic brass, terrifying Sanskrit chants, and adrenaline-pumping ostinatos. So strap into your mine carts and prepare to have your hearts ripped out—metaphorically, of course—as we unpack the darkest, craziest, and most thrilling adventure score in cinema history! The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Walt Disney, Lucasfilm or Polydor Music, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed by John Williams soundtrack release via Polydor Music, 1984 and Concorde Records, 2008, all rights reserved. 'The Deadwood Stage (Whip Crack Away)' Written by Sammy Fain and Paul Francis Webster. Performed by Doris Day. Copywright 1953 Columbia Records / Sony Music, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the show where we are firing up the Batmobile, cueing the operatic choir, and shining a spotlight directly on Gotham's darkest musical mastermind! Today, we are sinking our teeth into Danny Elfman's legendary 1989 score for Tim Burton’s Batman—and I promise you, this episode will be an absolute descent into mystery. To ensure our musical analysis doesn't completely lose its mind and end up like a roasted dude in an Axis Chemical vat, I am thrilled to be joined by the incredible Niall Browne of the Movies In Focus podcast! Together, we are going to drop a clown attack of sharp insights, investigate the bat cave of orchestration secrets, and see if this gothic masterpiece can truly charge the batmobile of our hearts. So cue the dramatic brass, lace up your combat boots, and let's get ready for a waltz to the death with the greatest superhero score of the eighties! The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Warner Bros. Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Batman score composed by Danny Elfman, arranged by Steve Bartek and Shirley Walker, released through CTS records, Warner Bros. Music 1989, all rights reserved. Bat Out Of Hell written by Jim Steinman and performed by Meat Loaf, released through Cleveland International, Epic Records, 1977 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Welcome back, starfighters and soundtrack explorers! For this episode we're heading into a Battle Beyond the Stars to celebrate one of the earliest gems in the career of James Horner, whose score blasts off with the magnificent "Main Title" and rockets toward the thrilling "The Battle in Space," giving us an early glimpse of the musical galaxy he'd later conquer. Joining me for this cosmic adventure is film music enthusiast Tim Grey, better known on social media as Bibi Dahl, and together we'll be exploring the themes, fanfares, and Horner hallmarks that make this score such a treat. Along the way we'll also pay tribute to Sybil Danning's Saint-Exmin, whose considerable gravitational attraction threatens to pull the entire film out of orbit, and spare a thought for poor old Sador, the galaxy's most dedicated collector, whose fondness for acquiring body parts as trophies really puts a new spin on keeping a handy souvenir. So keep your eyes on the stars—and your hands where Sador can see them—as we dive into this wonderfully rousing sci-fi score. The Scores Are Not Enough is an unofficial entity, and in no way affiliated with New World Pictures or Orion Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films. Copyright information pertaining to all other content is retained by the original holders. Score composed by James Horner soundtrack release via New World Pictures, Orion Pictures and Warner Bros., 1980, all rights reserved. ‘The Hokey Cokey’ performed by The Snowmen. Released through Slack (Stiff) Records 1981 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

For this episode you’ll need to grab your fedora, keep your whip within reach, and try not to look directly into any mysterious ancient artefacts, because today we're celebrating one of the greatest adventure scores ever written: John Williams' magnificent music for Raiders of the Lost Ark. From the first triumphant blast of the Raiders March to the suspense, mystery, and snake-infested peril lurking throughout the score, Williams doesn't just accompany Indy on his quest—he practically cracks the whip and leads the expedition himself. Joining me for this archaeological dig through the soundtrack is Val, better known as Spaceodds1985, as we tip our hats to the music that helped make cinema's most famous archaeologist a treasure beyond measure. So dust off your map, follow the musical clues, and let's embark on a score-tastic adventure that's sure to belong in a museum! The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Paramount Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed and conducted by John Williams. Official Soundtrack released Columbia Records / CBS International 1981 all rights reserved. 'Whip It' written by Mark Mothersbaugh and Gerald Casale, performed by DEVO released through Warner Bros music 1980 all rghts reserved. Hosted on Acast. See acast.com/privacy for more information.

For this episode, we’re celebrating the towering, thunderous, heart-swelling brilliance of John Williams and his legendary score for Superman: The Movie — the soundtrack that didn’t just make us believe a man could fly… it made us believe French horns had superpowers.This score has everything: heroic marches, romantic wonder, cosmic majesty, and enough musical leitmotifs to make Lex Luthor plot revenge against the entire brass section. And because no Fortress of Solitude should ever be occupied alone, I'm joined by Tom Pickup from the Really 007! Podcast — connoisseur of iconic movie music, lovers of classic cinema, and people who understand that when John Williams conducts, even your coffee feels more cinematic.So tighten your cape, cue the timpani, and prepare for a super-conversation about a super-score for the original cinematic Superman. Because this episode… is here to save your playlist. The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Columbia-EMI-Warner Productions, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed by John Williams soundtrack release via Warner Bros Records, 1978, all rights reserved. 'Superman' written by Kelly Jones and performed by The Stereophics. Released through V2 Records 2005 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

For this episode we’re descending several layers deep into the dreamscape of Inception, guided by the seismic brilliance of Hans Zimmer’s score — a soundtrack that doesn’t just accompany the film, it practically rewires your pulse. From the ominous brass blasts of “Dream Is Collapsing” to the aching grandeur of “Time,” via the ticking tension of “Mombasa” and the eerie elasticity of “Half Remembered Dream,” Zimmer created music that feels less composed than architected, like a sonic extraction job unfolding in real time. And joining me to unpack every BRAAAM, paradox and perfectly calibrated emotional beat is David Lowbridge-Ellis — writer, cultural commentator, Bond expert, and curator of the social media presence Licence To Queer — for a conversation that promises to be as layered, stylish and unexpectedly emotional as the score itself. The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Warner Bros. Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed by Hans Zimmer soundtrack release via Reprise Records, 2010, all rights reserved. 'Supermassive Black Hole' written by Matt Belamy and performed by Muse. Released through Warner Music and Heluim-3 2006 all rights reserved.  "Non, je ne regrette rien" written by Charles Dumont, lyrics by Michel Vaucaire and performed by Édith Piaf' 1960 "In Dreams" written and performed by Roy Orbison, released through RCA Victor / Acuff-Rose Publicatons, 1963, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

For this episode we’ll be analyzing the two most powerful forces in the galaxy: destiny… and a French horn section. We’ll be blasting off into the symphonic hyperspace of the “Main Title,” that bold musical announcement that basically says, “Put down your popcorn and prepare for feelings.” Dodging “Imperial Attacks” swooning irresponsibly over Princess Leia, trying not to blow our entire moisture farming budget at a “Robot Auction.” and observing a wretched hive of scum and villainy. No, not it’s not PMQ’s at Westminster! that’s right it’s Star Wars of course! And joining me to soak up the sights and sounds of Mos Isley Spaceport, and taking in the intergalactic jazz chaos of the “Cantina Band,” is Charlie Brigden — a film music writer and journalist who knows his horror scores as intimately as most of us know our own Netflix passwords. With bylines in Fangoria, Set The Tape, Cinepunx, and Certified Forgotten, he’s made a name exploring the gloriously shadowy corners of soundtrack and cult cinema. He’s the host of The Sound of Fear, where horror film music takes centre stage, and has appeared on shows like Wrong Reel and The Last Horror Podcast. If it involves eerie synths, cult classics, or a vinyl release from Death Waltz Records, chances are Charlie’s already written the liner notes — and brought a flashlight. But is John Williams score for Star Wars still as brilliant as we remember? There’s only one way to find out; let’s dive in! The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Lucasfilm all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Star Wars score composed and conducted by John Willams and performed by The London Symphonic Orchestra. Released through 20th Century music 1977, all rights reserved Star Wars / Cantina Band performed by Geof Love and His Orchestra, released through Music For Pleasure, 1977 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Great Scott! For this episode we don’t just listen to movie music—we generate enough sonic energy to send us back in time! Today we’re celebrating the electrifying soundtrack to Back to the Future, and joining me on this temporal experiment is my special guest Becca Andrews, co-host of the film review podcast Do You Expect Us To Talk? and occasional contributor to Set The Tape! The moment Huey Lewis & The News unleash The Power of Love, we’re talking a full 1.21 gigawatts of nostalgia! So climb aboard the DeLorean, set the destination circuits for 1985, and hold on tight—because when this soundtrack hits 88 miles per hour… you’re gonna hear some serious music! The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Warner Brothers, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed by Alan Silvestri soundtrack release via MCA Records, 1985, all rights reserved. "The Power of Love" written by Huey Lewis, Chris Hayes, Johnny Colla performed by Huey Lewis and the News "Back in Time"written by Huey Lewis, Chris Hayes, Johnny Colla, Sean Hopper, performed by Huey Lewis and the News "Mr Sandman" written by Pat Ballard and performed by The Four Aces "Night Train" written by Oscar Washington, Lewis P. Simpkins, Jimmy Forrest performed by Marvin Berry & The Starlighters "Earth Angel (Will You Be Mine)" written by Curtis Williams, Jesse Belvin, Gaynel Hodge performed by Marvin Berry & The Starlighters "Johnny B. Goode"written by Chuck Berry, performed by Marty McFly with The Starlighters Hosted on Acast. See acast.com/privacy for more information.

The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Warner Brothers, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed by James Horner soundtrack release via Atlantic Records, 1982, all rights reserved. "Amazing Grace" written by John Newton and performed by Kathleen Nicholson Graham. 'Rocketman written by Elton John and Bernie Taupin and performed by William Shatner. released through Cleopatra Records 2011, all rights rserved. Hosted on Acast. See acast.com/privacy for more information.

Welcome, brave listeners, to a sonic quest and one of the most gloriously bold fantasy scores ever committed to film. Today, we’re diving into Krull—where the glaive flies, the stakes are sky-high, and the music by James Horner doesn’t just accompany the adventure, it practically rides the Firemares straight through it. But fear not, I won’t be venturing into the Black Fortress alone—I’m joined by Will Welch, Curator of The Wonderful World Of Film Music, to help navigate Horner’s sweeping, swashbuckling soundscape. Together, we’ll Krull over every cue, uncover hidden gems, and celebrate a score that proves fantasy films don’t just need heroes—they need music that’s truly out of this world. The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Columbia Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed by James Horner, performed by the London Symphony Orchestra. soundtrack release via Southern Cross Records, 1987, all rights reserved. 'Swords Of A thousand Men' written by Eddie Tenpole and performed by Tenpole Tudor. Released through Stiff Records 1981 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

This week we’re striding through some bloody huge wooden gates to dig deeply into a score by the maestro himself, John Williams. From the electric spark of the “Opening Titles” to the soaring “main theme” wonder rises higher than a brachiosaurus on its hind legs—majestic, monumental, and most definitely ‘tricera-top’ tier. But don’t get too comfy in the visitor center: “Incident at Isla Nublar” snaps at our heels, turning calm into chaos faster than you can say “clever girl.” And joining me to dodge a “Raptor Attack,” steal embryos and dangle over disaster in “High Wire Stunts.” is returning guest Tom Fleming Bond and sci-fi and fantasy film fan extraordinaire who can be found on various socials as @tomyflemba. But is John Williams score for Jurassic Park a Tyrannosaur or a Doyathinky saurus? There’s only one way to find out; let’s dive in! The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Amblin Entertainment, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders. Score composed by John Willaims soundtrack release via MCA Records, 1993, all rights reserved. 'Walk The Dinosaur' written by David and Don Was and performed by Was (Not Was). Released through Chrysalis / Fontana/Phonogram 1986 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.