When director Michael Dougherty called Bear McCreary to compose the score for Godzilla: King of the Monsters, the sequel to the 2014 blockbuster, an electrifying idea sparked in McCreary’s mind. This film wasn’t just another scoring project; it was a chance to breathe new life into his all-time favorite Blue Öyster Cult anthem, “Godzilla.” His vision went beyond a simple cover. He imagined a powerful rendition featuring rock and metal titans like Serj Tankian of System of a Down and the formidable rhythm section of Dethklok. “I’m in,” McCreary declared, unknowingly setting off on a creative odyssey that would redefine his career. As Godzilla: King of the Monsters stormed global cinemas, it wasn’t just accompanied by McCreary’s epic orchestral score, but also by an end-credits sequence that unleashed his dream version of BÖC’s “Godzilla.”
To capture the exhilarating journey of this musical endeavor, McCreary engaged in insightful conversations with the stellar lineup of musicians who joined him. These included the iconic Serj Tankian, guitar virtuoso Brendon Small, bass maestro Bryan Beller, drum legend Gene Hoglan, backing vocalist Brendan McKian, and co-producer Jason LaRocca. Adding a special layer of authenticity, they were joined by Buck Dharma himself, the Blue Öyster Cult luminary who penned the original rock classic.
The Enduring Cult of Blue Öyster Cult
Bear McCreary’s deep-seated love for cinema was the gateway to his discovery of Blue Öyster Cult. His first encounter was with “Veteran of the Psychic Wars,” a track from the animated cult classic Heavy Metal. While Elmer Bernstein’s rich orchestral score initially drew him to the film, it was the raw energy of Blue Öyster Cult’s song that resonated deeply. Later, Danny Elfman’s score for Peter Jackson’s The Frighteners led him to a cover of “(Don’t Fear) The Reaper”, which in turn propelled him to the mesmerizing original. From that point, McCreary became a devoted collector of BÖC albums, captivated by their unique fusion of intricate riffs, operatic lyricism, and unforgettable melodies.
Brendon Small, the creative force behind the animated sensation Metalocalypse and the real-world metal band Dethklok, shared a similar path to discovering the band’s magic.
BEAR: “How did Blue Öyster Cult first come onto your radar?”
BRENDON SMALL: “Growing up, I was fortunate to have a friend named Renzo who really pushed me to take guitar seriously. Back in the early nineties, when vinyl records were largely disregarded, Renzo would scout out and buy them for next to nothing. One day, he showed up with a whole stack of Blue Öyster Cult records, and we dove right in. ‘(Don’t Fear) the Reaper’ immediately struck me as one of the most incredible songs I had ever heard. Blue Öyster Cult was just different. I remember thinking, ‘What is this band? There’s absolutely no one else like them!’ I’ve always held a very special place in my heart for them.”
BEAR: “What do you find is the core difference between covering a song you admire versus composing something entirely new?”
BRENDON: “I enjoy writing and playing music, no question. But… honestly, I think deep down I just want to be in a cover band.” (laughs)
BEAR: (laughs) “There’s a certain freedom and pure joy in it, isn’t there?”
BRENDON: “I recall when we were covering Queen together for the Freddie Mercury Tribute Concert in 2011. Being on stage, weaving through those three-part Flash Gordon harmonies between two guitars, I thought, ‘This is the ultimate spot to be.’ Something truly special happens when you’re immersed in music you love. You internalize it, you understand it, you see the intricate patterns within it.”
BEAR: “In a way, it feels like a form of connection with your musical idols.”
BRENDON: “It’s probably the closest we’ll ever get to being on the same level as many of these legendary musicians.”
While theoretically agreeing with this sentiment, McCreary’s experience with covering “Godzilla” took an unexpected turn. Just a day after WaterTower Music released the single version of “Godzilla,” he received an exhilarating phone call from Buck Dharma, the songwriting genius, guitarist, and vocalist behind the iconic original recording that McCreary revered.
The Genesis of a Monster Anthem
Never did McCreary imagine he would have the opportunity to converse with the very musician who crafted so many of his beloved rock anthems, let alone that this conversation would be sparked by a cover song he produced.
BEAR: “How old were you when you first encountered Godzilla?”
BUCK DHARMA: “Probably around ten. Back then, in New York, there was a show called ‘Million Dollar Movie’ that played the same film every night for a week, always at 7:30 PM. The original Godzilla movie, the one with Raymond Burr, was a huge favorite of mine. I absolutely loved it.”
BEAR: “What was the inspiration behind writing the song itself?”
BUCK: “The song’s origin story is quite simple. I was in a hotel room in Dallas, Texas, back in 1975, and I just came up with that guitar riff, those parallel fifths. It immediately conjured up the image of Godzilla in my mind – that lumbering, ‘guy-in-a-suit’ monster. Then, I started crafting lyrics based on the movie’s narrative. Things like the high-tension wires, which are such a prominent visual in the film.”
BEAR: “The vivid imagery in the lyrics is definitely a key element that makes the song so effective.”
BUCK: “Well, the underlying message is that humanity essentially unleashed Godzilla, but despite his destructive power, Godzilla also embodies a form of heroism.”
BEAR: “Absolutely. And the way you deliver the chorus, ‘Go, Go Godzilla!’ Buck, I can’t even say it without smiling. It’s just pure brilliance!”
BUCK: “Well, it’s a bit silly, but it’s also genuine!”
BEAR: “Did the rest of the band have any reservations about doing a song about a Japanese monster movie franchise? What was their initial reaction?”
BUCK: “Not at all, they were really into it. We were all fans of those kinds of movies. Sci-fi films and literature were a big part of our shared interests. So, yeah, everyone was on board.”
Despite the lyrics explicitly depicting Godzilla’s destructive rampage, McCreary always felt it was the song’s primal, pounding guitar riff that truly forged the connection between the music and the iconic monster. For him, the guitar rhythm was the sonic embodiment of Godzilla’s colossal footsteps. While the song became one of Blue Öyster Cult’s signature tracks, the legendary guitar riff arguably cast an even larger shadow on popular culture. It’s a riff that makes everybody go movie crazy, even without knowing the japanese song lyrics by heart.
Brendon Small observed, “That riff is so deeply influential. I bet people listen to what Nirvana did with ‘Smells Like Teen Spirit’ and think, ‘These minor thirds moving upwards, it’s essentially the same riff.’”
Gene Hoglan put it more directly: “I’ve always maintained that grunge, Nirvana, ‘Smells Like Teen Spirit’ – none of that would exist without ‘Godzilla.’ The riffs are virtually identical.”
Bryan Beller declared, “Everyone loves the song ‘Godzilla.’ That’s been my experience!”
Brendon added, “‘Godzilla’ is simply one of the coolest songs, featuring one of the coolest guitar riffs of all time. It’s easily in my top 10 coolest riffs.”
The influence of BÖC’s “Godzilla” undeniably spread far and wide in the four decades since Buck Dharma conceived it. Ironically, it never found a home in a Godzilla film, neither in the Japanese originals nor the American adaptations. McCreary was determined to rectify this oversight.
Crafting the Demo
Despite the immediate spark of inspiration to create a new “Godzilla” cover when he joined the project, McCreary intentionally set it aside for over a year, focusing on the orchestral score for Godzilla: King of the Monsters. As he immersed himself in the score, certain musical elements began to crystallize in his vision: a powerful symphony orchestra, a resonant choir, thunderous taiko drums, and the distinctive kakegoe shouts of traditional Japanese music.
As the composition phase neared its conclusion, the deadline for ‘pencils down’ approached rapidly. McCreary was weeks away from halting writing and flying to London to record the score with a massive ensemble. While he tried to concentrate on finishing the last of the action cues, the persistent urge to revisit his “Godzilla” cover idea grew stronger. The film’s producers, director, and he hadn’t extensively discussed the end-credits music. He felt that raising it as a theoretical question might cause unnecessary alarm. However, he sensed a once-in-a-lifetime opportunity slipping away. He had to create a demo of his vision.
There was only one vocalist McCreary envisioned for this project: Serj Tankian. Renowned for his quarter-century tenure as the lead singer of System of a Down, and his prolific career in film and concert music, Tankian was the perfect fit. A quick call to Serj confirmed his enthusiasm. Tankian was on board, but with a catch – he was leaving town in two days! McCreary sprang into action, arranging the song that very night, sending the files the next morning, and eagerly awaiting Tankian’s reaction.
SERJ TANKIAN: “I remember we were at a small water park with our son for a birthday party. You called and said, ‘Hey, I want to do this cover.’ And I immediately said, ‘Oh yeah, hell yeah, I love that song!’ Then you sent me this track with Japanese voices yelling, huge taiko drums, heavy metal guitars – I was completely sold!”
BEAR: “What was your initial impression of that approach to the song?”
SERJ: “The first MIDI version you sent had taiko drums, definitely strings and brass and percussion, and some subtle rock elements. But the rock aspect wasn’t as prominent. It leaned more towards orchestral, if I recall correctly.”
BEAR: “My initial concept was almost entirely driven by taiko drums, with guitars more in the background.”
SERJ: “As we progressed, you incorporated more rock arrangement elements to amplify the rock feel, which made perfect sense and added more weight to it. But it still retained a lot of the taiko percussion and the choir vibe. I loved that from the start! Over that weekend, we kept refining musical ideas, weaving my vocals with those voices, deciding on solo vocal sections, and experimenting with a mellow ending versus maintaining intensity. The Japanese male vocals were clearly important to both of us!”
BEAR: “Absolutely! I was experimenting with a lot of ideas, seeing what resonated. Your feedback and vocal performance were instrumental in shaping the direction. With that initial version I sent, I honestly wasn’t even sure if it would work at all!”
SERJ: “Yeah, I remember you saying, ‘I have an idea. I’m not sure it’s going to work, but we should give it a shot.’”
With Serj’s vocals laid down on McCreary’s rough sketch, much work remained before presenting the concept to the filmmakers and studio. He enlisted Brendon Small and his brother, Brendan McCreary (McKian), to add electric guitars and backing vocals. Working intensely for a few days, they honed the track’s sonic texture.
BEAR: “What were your thoughts when I sent you that first rough demo?”
BRENDON SMALL: “My first thought was, ‘Fuck yes, of course! It’s right there in front of you. I can’t believe it hasn’t been done before.’ ‘Godzilla’ needs to be in Godzilla! It’s a brilliant move, please make it happen!”
MCKIAN: “The genre-bending aspect was so unexpected. Those chanting vocals – nobody would anticipate that. I think that’s ultimately what makes the song so unique, those wild chants.”
BEAR: “When you were layering in the backing vocals, did Serj Tankian’s distinctive lead vocal style influence your approach?”
MCKIAN: “My primary goal was to create background vocals, emphasis on ‘background.’ Serj is undeniably the focal point. If Serj had a less distinctive voice, I might have approached it differently. But his voice is unlike anyone else’s in rock history. So, the track needed to provide space for him.”
BRENDON: “When I heard the demo, I thought, ‘This is so cool’ because you have Serj, who almost sounds like Neil Young at times, on top of it, you know? He has this yodeling quality in his delivery.”
GENE HOGLAN: “The entire song has a different character from the original. So, why shouldn’t the vocals also have a distinct character? Serj brought his own vision to it.”
One of the song’s defining features is its unusual structure, arguably containing just one verse, a departure from typical song forms. McCreary’s version preserved this unconventional structure while also taking some liberties. Notably, he omitted the instrumental bridge featuring a Japanese speaker on a megaphone (Buck Dharma revealed this mysterious voice was his bandmate Eric Bloom reciting translated warnings). He also chose to extend the song’s concluding hook.
BUCK: “I like how you linger on the ‘history shows again and again’ line. You repeat it more times than we did.”
BEAR: “It’s such a powerful hook, and it perfectly encapsulates the narrative of the new movie. Godzilla: King of the Monsters really draws from that theme. That lyric is integral to the film itself! I can’t imagine a more fitting line to conclude the movie with.”
Presenting the Song to the Studio
After collaborating with Serj, Brendon Small, and Brendan McKian, McCreary felt they had refined “Godzilla” into a compelling creative piece. However, after prolonged immersion in the project, he had lost some objectivity. It was the most audacious, unconventional piece of music he had ever conceived, and he worried a major film studio might balk at using it to conclude their summer blockbuster. It was time to present “Godzilla” to the filmmakers and gauge whether it would find a place in Godzilla: King of the Monsters.
With less than a week before his departure for London, the film’s creative team convened on the Warner Bros lot for the final cue review presentation. After the last score cue was approved, McCreary announced, “Before you go, I have one more thing to play for you. Just a little idea I sketched for the end title.”
He offered no further context, no mention of Blue Öyster Cult, or the artists involved, no names like Dethklok or Serj Tankian. He wanted the music to speak for itself. He pressed play on the Pro Tools rig. Four seconds of silence hung in the air, thick with McCreary’s anticipation and anxiety. At that moment, director Michael Dougherty met his gaze, a hint of curiosity in his eyes, and simply asked, “Blue Öyster Cult?” McCreary grinned. A split second later, the song erupted.
The demo’s reception was overwhelmingly positive, even ecstatic. Peter Afterman from Inaudible Productions initiated the process of securing the rights to synchronize the song with the film, and McCreary received the green light from the director and producers to move into full production. A wave of relief and elation washed over him as he realized his reimagining of a beloved song would indeed grace a major film.
Recording the Band: Dethklok’s Rhythm Section
On his final day before leaving for London to record the score, McCreary assembled the rhythm section of Dethklok to lay down the band tracks for his “Godzilla” rendition. The session was buzzing with energy, attended by members of the film’s creative team, as well as Serj Tankian and Brendan McKian, who had already finalized their vocal layers.
BRYAN BELLER: “Here we are, in this top-tier studio, a bunch of metalheads about to record a Blue Öyster Cult ‘Godzilla’ cover for a massive movie! It’s not a technically demanding song to play. The focus was on capturing the right vibe, injecting some fun into it.”
BEAR: “Serj, what was your impression of the rhythm section in action?”
SERJ: “Dude, they were incredible. Every take was just so powerfully tight and on point. And Gene’s double kicks! Absolutely insane. I was honestly just enjoying watching and listening to them. I was like, ‘One more take? … yeeeaah!’”
BEAR: “Gene, what was your approach to transforming a drum groove that was originally quite loose and swinging into something more rigid and metal-oriented?”
GENE HOGLAN: “That’s where my session musician mindset kicks in – following the direction of the person in charge. My goal is to realize your vision precisely as you intend. I was prepared to play the looser, rock-swing style of the original BÖC version. But when the direction shifted to a different approach, I was completely on board. I’m there for you, Bear, and for the song. And working with Brendon and Bryan is always a blast, they’re both top-tier musicians. We all appreciate each other’s playing. The session was incredibly relaxed and fun, just a really smooth experience.”
BEAR: (laughs) “I love your description of the session as ‘nice and light,’ considering the sheer heaviness of the resulting music!”
GENE: “Dark and heavy!”
BRYAN: “Working with Brendon is always inspiring. He’s a creative genius who built Dethklok and Metalocalypse from the ground up, an entire incredible world out of nothing. And Gene’s knowledge of rock and metal history is encyclopedic. He’s spent far more time immersed in music than I have.”
BRENDON SMALL: “The truth is, the three of us – Gene, Bryan, and myself – have spent countless hours together in studios and on stages. We genuinely enjoy each other’s company. Being directed by you, Bear, and treated as an ensemble, it felt like we were a sketch comedy troupe or an acting ensemble that has worked together so long we can almost finish each other’s sentences.”
BEAR: “I felt that nonverbal communication between you guys. Especially at the end, when you suggested a take where we ‘forgave ourselves,’ where we just had more fun with it, pretending it was live and letting go of overthinking. We ended up using almost the entirety of that take!”
BRYAN: “I always call that the ‘Fuck It’ take. That’s where the magic often happens. People often focus on the downsides of digital technology in music, but the upside is the incredible creative flexibility it provides in recording. This kind of spontaneity and experimentation was simply impossible in the past. Back in the tape days, splicing things together, you’d constantly be asking, ‘Will this work? Is the tempo consistent?’ I’m a firm believer in the positive impact of digital technology.”
BEAR: “I learned so much that day working with you all. While I’ve played in rock bands, my orchestral work has shaped my communication with musicians. The language of directing a rock trio is different from that of a string quartet. It’s a different set of communication skills.”
BRENDAN MCKIAN: “The band functions almost as a hive mind. I always felt the demo lacked a smooth transition between the first and second choruses, it felt slightly disjointed. And there we were with the full band, and when we reached that point in the song, everyone instinctively felt the same way, they all converged on the same moment. Everyone in the band sensed this specific point and agreed on the same solution. Sometimes a song just dictates what it needs, and every creative voice in the room understood ‘this is what we need to do.’”
The Musical DNA: Preserving the Core
McCreary’s fundamental aim was to safeguard the song’s core, its musical DNA. Yet, on the surface, his arrangement feels radically different. While his version merges heavy metal, orchestral, and Japanese musical idioms, Buck Dharma describes the original as more relaxed, “BÖC played it kind of funky. It swings and it lumbers, it’s got swagger.”
Much like Godzilla himself! Out of reverence for the iconic guitar riff, McCreary maintained the original key. Any other key would have diminished its essence.
BUCK DHARMA: “First off, I appreciated that you kept the original key. There’s a certain vibe to F# minor, you know? It’s related to A Major, but it has its own character. And it’s great you preserved that. Did you record to a click track?”
BEAR: “Yes, I did. I pre-sequenced some drums and other elements, which accounts for its unwavering steadiness.”
BUCK: “It’s… brutally, relentlessly steady! The drumming is fantastic. I love the drums and the orchestration, and how the orchestration interacts with the guitar rhythm. And I also appreciate that you retained certain elements, like when the bassline does that melodic figure – you had the orchestra play that as well.”
BEAR: “Yes! Bryan, let’s talk about that bassline in the choruses, with those E major walk downs. I remember playing it for you in the studio, and we both burst out laughing. It’s an unexpected nod to early rock and roll history, right?”
BRYAN BELLER: “We’re in the midst of a heavy rock song like ‘Godzilla,’ and suddenly we’re confronted with this chord, and the bass player launches into this Boogie-Woogie bassline. That’s exactly what it is – an R&B element, taking jazz theory and letting the bass player explore within the changes over a straight backbeat. It’s completely unexpected in a song like Blue Öyster Cult’s ‘Godzilla,’ which is what makes it so wonderfully absurd, but only if you zoom in as closely as we did. We were both just like, ‘What is this bizarre little detail?’ And, correct me if I’m wrong, you transformed this into a massive unison instrumentation!”
BEAR: “Absolutely! I incorporated the entire orchestra in unison – basses, celli, violas, violins, trumpets, trombones, horns, flutes, choir – everyone hammering away like the ‘Hallelujah Chorus!’”
BRYAN: “When I first heard it, I was just blown away!” (laughs)
BEAR: “As the arranger, I felt I would be missing a crucial part of the song if I didn’t find a way for you to play that bassline. It’s essential to the song’s identity!”
While McCreary prioritized preserving the core bass and guitar riffs, other aspects of the song underwent transformation.
BRENDON SMALL: “You slowed it down just a hair, a couple of clicks.”
BEAR: “Yes. It’s incredible how much difference a mere beat or two per minute can make – between a song feeling heavy or rushed or just right. I wanted this version to feel even heavier than the original, to amplify Godzilla’s immense weight in each beat.”
BRENDON: “When you see your favorite bands live, they often speed up the tempo slightly. It’s interesting that you did the opposite with ‘Godzilla.’ A slower tempo can be incredibly powerful.”
BEAR: “How did the slower tempo translate to the studio recording experience?”
BRENDON: “That brings us to Gene Hoglan in the studio. He’s a drumming powerhouse, and his drums are tuned low, adding to the overall heaviness of everything he plays. In metal, many drummers tune their drums higher and tighter. But Gene keeps his floor toms big, resonant, and almost demonic-sounding. There’s a lot to be said for that approach.”
GENE HOGLAN: “I focused on the lower toms to complement the weight of the taiko drums and their bombastic nature. The taiko drums are truly the lead percussive voices. You want to support what the lead instrument is doing, provide a solid foundation, and enhance the taiko drums’ performance.”
With recording complete, McCreary boarded a plane to London for a week of recording orchestra, choirs, and soloists for the score. He handed the “Godzilla” tracks to mixer and co-producer Jason LaRocca, who began the intricate task of assembling the massive layers of music in his studio.
Mixing, often overlooked, is a crucial yet less glamorous stage of music production. “Trying to blend orchestra, rock band, and vocals in the same sonic space is a challenge,” Bryan Beller chuckled. “Even getting a rock band to sound good is difficult. Mixing is hard. Mixing is where music goes to die,” he joked. “I say that for those unaware of the process, because it’s incredibly meticulous work. And taiko drums can be particularly challenging because they occupy a lot of low frequencies and sonic space. So, achieving a cohesive mix with all these elements is a real accomplishment.”
JASON LAROCCA: “It became a practical discussion of how to actually assemble it all. The floodgates were open, and it was about incorporating every possible idea to amplify the anthemic quality of the song. I think we reached 150 or 200 tracks of orchestra alone.”
BEAR: “What was the total track count for the song, approximately?”
JASON: “At one point, it exceeded 500. I had to start bouncing things down.”
BEAR: “So, we broke Pro Tools?” (laughs)
JASON: “Essentially, yes!”
SERJ: “I think the final mix strikes a great balance. You can clearly hear all the elements – the rock instruments, the orchestral textures, and the taiko drums, choirs, and vocals. You imprinted a unique sonic signature on the film with those elements.”
“Godzilla” Unleashed: A Viral Sensation
A month before Godzilla: King of the Monsters premiered, WaterTower Music released McCreary’s “Godzilla” cover as a single, alongside “Old Rivals,” a score excerpt. After dedicating over a year to the song, it was overwhelming for McCreary to witness it go viral, sparking diverse reactions from fans worldwide.
The outpouring of love from fans who understood the song’s personal significance and appreciated their collective efforts was deeply moving. However, one opinion mattered more than any other – Buck Dharma’s.
BUCK DHARMA: “The first time I heard it, I genuinely liked it. Here’s why: my criteria for a good cover song are twofold. First, ‘do no harm’ to the original song. Second, ‘bring something new to the party.’ You fulfilled both criteria. Everyone involved did a fantastic job. Serj Tankian was excellent. And the rhythm section has a distinctive style, unlike anyone else. You truly captured the essence of the original while steering the song in the direction it needed to go for your purpose.”
BEAR: “That means a lot to me, Buck.”
BUCK: “I’m still not tired of listening to it. My two-year-old grandson, a big Godzilla fan, hears my music all the time thanks to my son. But now, my grandson prefers your version to mine.”
BEAR: (laughs) “Oh no!”
BUCK: “He asks to hear ‘Godzilla.’ ‘Which Godzilla?’ ‘The blue one!’”
BEAR: “Wait, he means ‘blue’ as in the image in our YouTube video? Isn’t it funny, Buck, that ‘The Blue One’ to him is my version, not the Blue Öyster Cult version?”
BUCK: “It is. Exactly. It’s irony upon irony.”
BEAR: “After you wrote this song, it seemed inevitable it would end up in a Godzilla film. Yet, it took so long. Was there a point you thought it might never happen?”
BUCK: “Yeah, I wasn’t holding my breath. Let’s put it that way. I never imagined it as a credit roll song. But it always annoyed me that Hollywood Godzilla adaptations seemed to overlook us.”
BEAR: “How do you feel now that it has finally happened?”
BUCK: “I’m feeling pretty good about life, you know? Regarding BÖC’s broader cultural impact, I think this version of ‘Godzilla’ is another significant touchstone. It’s another great thing to happen. You know, it’s good to be Buck Dharma. It’s good to be influential.”
BEAR: “What’s the rest of the band’s take on it?”
BUCK: “They’re a bit disappointed it’s not our version, but I’m philosophical. You did a great version.”
BEAR: “Thanks. I completely understand their perspective. I hope this song’s presence in a film of this magnitude ultimately benefits the band. That would make me truly happy.”
After four decades, Blue Öyster Cult’s “Godzilla” finally graced a Godzilla feature film. While the delay remains a mystery, McCreary is grateful for the timing. It allowed a kid from Bellingham, Washington, to grow up, become a film composer and record producer, and create this reimagined version for Godzilla: King of the Monsters!
His rendition of the classic song has resonated deeply with fans, reaching mainstream audiences as the end-title track in the #1 global film. McCreary hopes long-time fans will appreciate this new voice for the anthem, thrilled to finally hear it in a Godzilla film. Equally important is his hope that new audiences, unfamiliar with the original, will perceive it as a modern rock anthem, perfectly at home in a contemporary blockbuster. Perhaps younger listeners will discover this version, explore the source material, and delve into the rich catalog of Blue Öyster Cult, just as he did as a kid.
-Bear McCreary
(This is the first of two blog entries about Godzilla: King of the Monsters. For the full story, check out Part 2.)
