Genre(s): Alternative, Folk, Indie, Pop

Instruments: Drums, Piano, Alto Sax, Guitar

I had never met Ty before this interview so I was really nervous meeting him. I realized right away that he is actually really cool and super easy to talk to! It didn't really feel like I was interviewing him, it was more like we were having a nice and friendly conversation. We actually lost a chunk of the recording, so I missed some really cool stories Ty shared with me; but I still learned so much from him. Check it out!

---

Ashley: How often and how long do you practice as a band?

Ty: Practicing in a band is much different from practicing on your own. If we have a show coming up and we feel really comfortable with the set, we will just play through start to finish. If we notice there is something off, that’s a little funny. We stop and work at that part. We’ll try to break it down if it’s a rhythmic thing, make sure out harmonies are correct, that we can hear each other, or see some parts are overbearing. If we find a particular line that we keeping flubbing up, we will work on it. If we do have something coming up, the main thing is we practice out set and transitions to make sure there is no dead weight.  We practice for the stage.

A: Who inspires you musically?

T: Everybody. Mostly. My dad was a big influence because he was always playing when I was little. He was in a funk/R&B/blues band so I grew up on a lot of Motown,  Marvin Gaye and Wilson Pickett. They played a lot of 80s and 90s so a lot of funk and rhythm sensibilities that I picked up early on translated well into soloing and grooves. Later on when I was learning piano, I got into classical and rock piano like Elton John. Also lots of classical rock, alt. pop, blues for soloing, and jazz because I was in jazz band in middle school. 

A: What kind of music did you learn for each instrument you played?

T: In terms of piano, when I was taking lessons at my neighbors, it would have been a lot of pop stuff from all over the place while using early technique books and stuff like that. The first time I focused on classical music was my grade 5 Royal Conservatory of Music exam for the high school credit. I also wanted to make sure I had something in my back pocket for teaching, and grade 5 seemed like a good benchmark. I ‘ve always had classical training but started jazz band in school. I also did a little jazz on the guitar for a little bit on the drums. In band class I was playing tenor and alto sax also upright.

A: What got the band Sc Mira together?

T: Well it started with the singer Sadie and I. I was a producer for a couple of her first acoustic folk songs and then we started writing together. A year and a half ago we were started as a duo, but decided we wanted it to be a full band. 

A: So then, what accomplishments are you most proud of?

T: Teaching little kids. I teach at a unique place, where at the end of the year instead of a concert or recital; we put all the kids into small bands. We then have five weeks of them rehearsing together on the same song. When you have these 6 year old on stage completely on their own, playing a rock or blues song, I guess it’s not my own accomplishment, but when I see them on the stage the feeling is so neat.

A: What do you like most about being a musician?

T: The biggest reason I like being a musician is because I’m good at it.  I mean that sounds arrogant but I feel that’s fair to say. For a lot of things that people do, if you’re good at something you generally follow that path. I’m good at it and I like it. It’s an artistic challenge. It’s logical challenge with pattern forming; mathematics, science and art components. It makes people happy and you get to share that with them. You go on stage and let go, play characters if you want. Open up and tell stories. As lame as it sounds, you reach for the stars. You get to travel or tour and play with other people. I love how you get to connect with others that are not a necessarily normal [way to communication with others], like talking. It’s kind of like an extra level of interacting with people. No one really knows why he or she makes music. I think I’m just making excuses as to why I make music [laughs].

A: What advice would you give to beginners who are just starting out?

T: Suck it up, [laughs] in the nicest way possible! For me, I still get extremely nervous. Not as much in the last year or so, but I would be terrified about doing any kind of performing with other people. I still get nervous. I don’t know how I got through it all those years or what kept me going; but there is always going to be some kind of nerves with showing something so personal to other people.  It takes guts to get out there. It’s not something everyone deals with on a daily basis. It’s not like your forced to go and play songs with everyone from the day you are born - like talking and walking. It’s still interesting that we don’t really understand why we connect to others with music so much.

To come out and say “ Hey I play music” and sharing such an intimate part of your like can be daunting. So to get over it, just close your eyes and jump off the cliff. Baptism by fire is the absolute best option for me. Some of the biggest things I’ve have to overcome, like when I played at the MTS Centre, that was the absolutely terrifying. If I had sat back and thought about it like “oh no I can’t do this, I’m going to mess up” I would have started doubting myself and throwing all of these things in the air that hadn’t been there before. I just closed my eyes, closed my ears, shut up and went out and did it. When I finished, the adrenaline and the feeling of accomplishment were amazing and there are very few things that match that feeling. On the flip side and you do go and make a mistake or embarrass yourself, which I have don’t countless of times, it will freak you out for a bit but it gives you really good incentive to never to that again.

Trust your gut. Trust your talent. Don’t listen to the voices in your head, just listen to the feelings; because that’s what music is. It’s feeling not thinking.

A: How do you balance music with your other obligations?

T: I’ve managed to turn music into my obligation. For example, being able to teach music as a job. I also do composing and songwriting or I produce and mix for bands, TV shows and movies; so that fits in really well. It’s difficult. But, the more I focus, the more it’s easier to become apart of my work and school life. It’s definitely a juggling act. You’ll find yourself  saying “I really want to work on this right now but I have an exam tomorrow” and it’s unfortunate. I could be 100% invested in music but it would make life very difficult at the moment. 

A: What is your common and successful songwriting process?

T: I would say there are three main ways I personally go about it:

1.     Someone needs a song. You sit down and say. “Okay I need to come up with something.“ It’s not very inspirational; but the music will be good! The music sensibility will still be there, but you’re being told to write something. The producer will tell me  “I need this, I need that” and I work on something and send it to them. They’ll tell me what they like and what they don’t and I’ll keeping working on it until it’s completed. That’s the least creative way. It’s still fun, it’s just a different kind of challenge. You’re trying to work to someone else’s schedule.

2.     The second way to compose is in a group, where I might start with some kind of melody or structure and sit down at the rest of the group saying “here I have this, I don’t know where it’s going. “ I’ll play something, they’ll play something; they’ll sing something, I’ll sing something.” We’ll sit together and work on a tune or two. It might take a day or a week; but the entire band works together. It’s really interesting because you get everyone’s different ideas. It’s like sculpting a weird sculpture with everyone brining his or her own chisel. It’s a very interesting process. A good team-building project.

3.     The last way to compose is the most personal way. It’s 100% just myself. I’ll hear a tidbit of a song and immediately have cogs turning in my head and out of nowhere I’ll coming up with a melody. Sometimes it can be quick, other times it will take forever. Many items it just clicks: BOOM, there it is. You’ll get an idea and sit down with it. Just keeping at it and building on it. Lots of times that will be without any instruments in front of me.  When I have something I like, I’ll run to an instrument to try it out. I’ll even try to record it to make sure I don’t forget it. I usually don’t but it’s a good safety net. The third option is the way I write most of my own personal stuff. 

A: Anything you are currently working on that you would like to share? Upcoming performances?

T: Nothing until the EP or Album release. We are releasing it at the West End Cultural Centre in June. Once we finish that show, we are going on the road for three weeks. We have a big tour across Canada and the United States planned. 

A photo posted by Ashley Bieniarz (@ashleybieniarz) on May 22, 2015 at 6:00pm PDT

Support Winnipeg Band Sc Mira!

If you like this post, please hit the like and share button below! Please reach out to me via Twitter or my contact page! I would love to hear anything you have to say! Really, anything. I'm lonely. Also I now have a new Facebook page that will let you know when each post is posted! I would really appreciate if you could like it! Thank you!

Solo and collaborative pianist Indra Egan has been studying music for 16 years, including training as a soprano and violinist. She holds her A.R.C.T. in Piano Performance from the Royal Conservatory of Music and recently completed her first year of her Bachelor of Music at the University of Manitoba, where she studies piano with David Moroz and voice with Robert MacLaren and Monica Huisman. She has performed piano concertos by Haydn and Schumann respectively as a guest soloist with the Prince George Symphony Orchestra, where she was the Chamber Music Series pianist for the 2013-14 season and first violinist for two seasons. In her home province of BC, she organized a series of 8 concerts called Indra and Friends that raised $15 000 for 7 different Canadian charities. She also taught piano and violin for nearly 10 years; her students have been accepted to Bachelor of Music programs across Western Canada, including University of Victoria and Mount Royal University. 

Indra has collaborated with a variety of artists, including lyric tenor Robert MacLaren and American violinist Elizabeth Pitcairn. Indra, who enjoys music of all styles and genres, is very passionate about contemporary music and has premiered works by multiple Canadian composers. Most recently, she won the University of Manitoba Concerto Competition, and will be performing a concerto as a guest soloist with the University of Manitoba Symphony Orchestra in their 2015-16 season.

---

I had a great time talking to the talented Indra Egan a couple weeks ago. I was surprised how much I learned from her from a half-an-hour conversation. This girl is wise beyond her years. 

Instruments: Piano, Soprano, and Violinist

Genres: Classical solo and collaborative opera

Ashley: How long have you been playing piano and violin, and singing?

Indra: I have been playing piano since I was 4 years old. I started violin when I was 5 and didn’t actually start voice lessons until I was 18. Voice was a huge learning curve for me because the way you approach music from a vocal perspective is so different from a pianist, or really as any instrumentalist. It’s so much more linear and more organic. Instruments can be really intuitive but the voice, because you can’t see it, you need to internalize it.  It’s such a different way to approach music that I started incorporated that into my playing piano.

A: How hard do you push yourself, how often do you practice?

I: I practice everyday. I try to do at least 2 to 3 hours a day; which I would consider a light day of practice. Ideally I like to practice 4 or 5 hours each day of piano but it doesn’t always workout with school and courses.  The biggest struggle I’m finding with practice is balancing solo and collaborative music. I’m finding myself being drawn more and more to collaborative music and wanting to practice it more; but I do need a strong solo base. That’s why I’m here at the university to study solo piano for the next four years.

I try to spread it out [my practice sessions] through out the day though. I have experienced injuries and after coming back from that I have started taking a close look at my technique and strengthening my muscles. I stay at school for an hour or two between practice sessions in order to maintain a healthy practice regiment. 

A: When you are practicing, what are you focusing on?

I: I generally use my repertoire to work on my technique, so I don’t do a lot of scales or exercises. I did a lot of that when I was younger and I had a great teacher back in BC, where I’m originally from, and I am really fortunate to have a great technical base. I rarely practice by playing my pieces over and over at the full speed. I take each piece apart and study them. I will never forget the time I took 4 hours working on 12 bars. I don’t do that very often, that is an extreme case.

For example I will take something like a difficult sixteenth note passage and play it in seven different rhythms, different volume levels and accents. Even when I have a particular sound in mind, I like to play around with other sounds and colors because I feel it’s really close-minded to have only one idea for the song.

A: I’m always interested to hear other musicians tell me they too spend a lot of time on one section. It can be discouraging coming to a university with all these extremely talent musicians and forget they need to practice just as much as I do.

I: Yeah, I think a lot of the time we worry that the rest of the piece is going to be neglected if we are only working on one part. I find that if we are nervous about a piece that we are not quite prepared for. It’s usually one or two specific spots that worry us; not every single note of the piece. Once you take that fear out, like “I don’t have to worry about this part when I get to it”, suddenly the piece isn’t about worrying that one page of the song and you can pay attention the entire piece and it keeps you stable.

We also have a tendency to start at the beginning of a piece, which gets it to be really good on its own. I’ve begun starting on the last page of the music I’m working on.

One song I’m working on right now is a Chopin Nocturne, which always tends to get more difficult as the piece goes one. I always want to start at the beginning because it’s so beautiful and there is so much to do with it musically. But the last page is not as strong as the first; and so I work backwards.

A: So who would you say inspires you musically?

I: Definitely, the teachers that I’ve had. I’ve been really fortunate to study with really high caliber teachers. Even though I lived in a relatively isolated area, I always would find myself traveling far for lessons.

When I was 4, I would have to be driven for an hour to and an hour back from lessons. I remember getting really carsick. When I was 9 I had to travel 3 and a half hours for lessons. I got to access really great musicians, I would say especially Lori Elder, and of course the wonderful faculty at the university of Manitoba. I try to, whenever I get a chance, go see the performances from the faculty. It’s really inspiring to see all of these musicians with such intention and clear artistic vision that I see on the stage.

I am hugely inspired by the human voice; ultimately, it's what all instruments do their best to imitate. So with that approach to music, I guess it's only natural that many of my biggest influences are singers. Classically, I am a crazy fan of Joyce DiDonato. I love the warm and human quality of her voice, and she is truly an artist who inspires me both on and off stage. I fell in love with Maria Callas at a very young age - she's someone who's not known for a "perfect" or "pretty" voice, but who tells a story, and I connected to that immediately. My biggest piano inspiration is undoubtedly Martha Argerich. She plays with such raw passion, as though there's always a fire under her belly. Outside of the classical genre, I would say my most influential artists have been Carole King, Billy Joel, Radiohead, and Lady Gaga.

A: What accomplishments are you most proud of?

I: I would have to say number one is getting back into music. That was the scariest thing I’ve ever done.  Initially I wanted to do voice, instead of the piano; which everything thought was really strange since I never had any vocal training. I was in university and I knew that I wanted to do music. I felt at the time that voice school was what was missing, what I really wanted to do. I thought that if it was piano I would have figured it out when I was playing piano.

I did a ton of stuff that scared me when I went after voice. I assumed going in with a musical background would help me, and in a lot a ways it did, but it actually hurt me too. I kept trying to place all of the notes on a mental keyboard. Just the way you think of singing in classical sense is so different than how you see it on the piano. You have your chest voice, your mid voice and your head voice. You’ll have notes that are high in your mid voice that are low in your head voice, and so being able to conceptualize that the note is going to feel really high when they actually aren’t was so different.

I remember the first time I stood in front of a group of people; I was terrified - which was a new feeling for me because I don’t get nervous when I’m playing piano in most settings. I usually get excited.

A: How do you not get nervous?

I: I rarely get nervous. I’ll get maybe adrenaline but not nervous because I’m so focused. I remember that first vocal performance. It wasn’t a complete disaster but it wasn’t even close to what I had practiced at all. It was after two months of vocal training and I was doing a music festival with grade 10 repertoire. I just couldn’t handle how my body was no longer doing what I wanted to because I was so nervous. 

A: You had only in to 2 months of training and you were doing grade 10 material?

I: Yes, I took grade 10 right from the beginning. I had been accompanying vocal music for a while and had been singing on my own time for some time. I ‘d also taken French and German in high school. It was the first time being nervous while I sang and that was a really great experience as a teacher for all my students who get nervous so I can understand better.

A: With everything you’ve learned and everything you know now, what advice would to give to beginners who maybe want to take the same steps as you to move away for school or start performing.

I: Well I would say, do things that scare you. Perform as much as you can. That doesn’t mean start off perform a million times a week; taking as many opportunities as you can. within a reasonable amount. Don’t shy away from it. I do things because I’m not sure I can do it. That’s the philosophy I use as an artist, I don’t know how well it will work for other people, but I constantly challenging myself. That constant thrill of not knowing if I can do it is what pushes me.

When I came to this university it was scary.  I had never been this far across Canada. I came here all by myself and had to book my own hotel all by myself.  I actually never auditioned for someone that I didn’t know before because I’m from a small town.

The one of the most important things you can do is things that scare the hell out of you. Because first of all you learn that you can actually do things that scare you and it keeps you on your toes and it gives you that drive to keep going.

Expose yourself to more genres than just the one want to to do. I listen to a ton of music that’s not classical; because I think at the end of the day, music is about communication. Classical is not the only way to communicate. It’s one of my favorite but its definitely not the only way.

I love listening to pop song and thinking to myself “Oh this is the pop equivalent of this lied” because you realize that it’s the same story just being communicated in very different ways. I get performance tips from watching people like Bruno mars because he knows how to perform. Madonna knows how to make it that no one is watching anyone but her.

I think that’s really important to be aware of and actively pay attention to other genres; to be always open-minded. If I wasn’t I would still be trying to get into a voice program. I feel so much more at home in the piano program.

I guess the last thing I would say is a musician; no everyone gets a ton of people telling him or her what he or she should or shouldn’t do with their lives. Whether it’s good-natured advice or people saying, “Man you’re making a huge a mistake” or even people saying, “yes, this is what you should do”. Every once in awhile take a step back and listen to what your gut is telling you. We get so much advice and so many people making our lives their business and we have to live with it. If you trust yourself off stage, you’re going to trust yourself on stage. 

A: How do you balance your music with you other obligations?

I: It’s definitely tricky, there is no doubt about it. I don’t get as much sleep as I should. Like I mentioned before, I need to take breaks in between practice sessions so I’ll take the time to go for a run, do homework, or any kind of paperwork or emails. I think it’s really important that I make sure that I relax at the end of the day or just eat something when no one is talking to me. It’s really important to not just go to sleep. Take a little bit of a breather.  It’s important that as a musician, we go out and experience other things not related to music; like going to the forks or dating that one person.

Music is about emotion. Music is about life. Music is about people; so if we don’t experience those things how are we going to communicate them? The more life experience we have to bring to our music the more we have to offer as musicians. 

A photo posted by Ashley Bieniarz (@ashleybieniarz) on May 12, 2015 at 5:46pm PDT

Support Winnipeg Musician Indra Egan!

If you like this post, please hit the like and share button below! Please reach out to me via Twitter or my contact page! I would love to hear anything you have to say! Really, anything. I'm lonely. Also I now have a new Facebook page that will let you know when each post is posted! I would really appreciate if you could like it! Thank you!

Instrument(s): Opera Voice, Guitar, Piano, Flute, Drums, Bass, Mandolin 

Genre(s): Classical, some jazz, classic and progressive/art rock

Tristan Zaba is a Canadian composer, arranger, producer, and instrumentalist. In 2012, he released his first album, Thoughts Past Pondered, and released his second album, In The Round, in 2014 with his band ZABA. Both albums feature the band's progressive rock style bringing in modern influences such as Steven Wilson, Rush, Jethro Tull, and Pink Floyd. Currently he is studying music composition with the Faculty of Music at the University of Manitoba.

---

Ashley: Let's start with you telling me how long have you been playing?

Tristan: I have been playing guitar since I was in grade 1, but I don't have much formal training. Actually, I never really received any formal training on guitar, but I’ve always made an effort to drill myself technically so I consider myself decent with classical and jazz technique.

As far as the instrument I’ve studied the longest in a formal setting I would have to say is voice. I’ve been singing opera for 6 or 7 years now. I trained when I was living back in Calgary.

A: That’s where you are from, right?

T: Yeah, I’m from near Calgary but I was originally born in Toronto.

A: Did you move to Winnipeg for school?

T: Yeah, I did. I’m living in residence right now, and I came here because I’m a composer. The composition program had a really good offer. It came down between this and McGill and this seemed like a way better choice.

A: How so?

T: I was accepted at a few places, like University of Victoria, UBC, McGill, University of Manitoba and University of Western Ontario. For each university, I was accepted into their direct entry composition. The thing is, at McGill they have the largest number of music students of any school in north america in terms of sheer numbers, and it’s not huge in the composition faculty. I mean, there are only 8 students here. But there is not nearly as much flexible [at McGill]. Yeah, they are going to give you a great training but, it’s extremely regimented and you know exactly what you are going to be doing for your entire degree. They have it all mapped out.

Here at the University of Manitoba, it’s extremely free. I’m getting the same sort of training as I would at McGill; but I can also get away with a lot more. Gordon Fitzell and Orjan Sandred are fantastic composers. If I want to compose an opera or a chamber opera, even in my first year, I can get that performed. It’s great. That would never happen in McGill, not for awhile at least. Definitely not in the early years.

A: So how hard do you push yourself when you practice? How often and how long?

T: The thing is because I played so many instruments, it’s hard to say. What I perform on most with is voice, I do recitals every now and then and perform in my own compositions. And now I’m currently in the Manitoba Opera Chorus for their production Turandot. But for that, I don’t practice as much as I should. I practice maybe a couple hours once or twice a week; but the thing is it’s different because I’m doing a lot of practicing anyway. I’ve got opera rehearsal from 7:00 to 10:00pm every single night except Thursdays and Sundays so I’m doing so much singing anyways. I just don’t want to spend the extra time on it right now.

A: So when you are practicing, what are you doing - exercises, new music, technique, etc?

T: Actually when I practice on most instruments the first thing I think about it tone production.

A: What does that mean?

T: On flute especially when I’m practicing long tones there are extremely specific ways to get a really good tone and there are slight changes between octaves. And I think with singing and with wind instruments, it’s all about proper breathe support and from there you can kind of work on your tone so it comes a lot easier.

Piano and I have an interesting relationship. I had already learned a lot of instruments before I started playing it. I didn’t learn any piano for a long time but then university started coming up and I thought to myself “Oh I better start learning piano.” and after two years I went from knowing nothing to grade 8 Royal Conservatory. I did the same thing with theory.

When I’m practicing anything with dedication for a performance, it’s important to focus on the small sections that you can never get. Because those are the sections you really need to go over. When I was practicing piano every day, my mom would freak out at me because I was playing a measure and a half for an hour before I would move on and it drove her nuts.

A: Who inspires you musically when you are composing or performing?

T: I’m going to say Frank Zappa. He was a classical composer active from maybe mid 60s to the mid 90s. But he was one of those 1970s counter-culture figures. He was a classical composer that did everything else, like jazz and rock.

A: Like you?

T: Kind of like me, but he had a lot more attitude. He blends everything into everything else. He realized that it’s extremely hard to make money as a classical composer in this day and age, so the best thing to do is diversify and he did it without compromising which is really cool!

When you listen one of his rock albums, there are atypical instrumentation and all sorts of bizarre classical stuff. His classical is just off the wall and the amount of material he wrote was just unbelievable. He released 100 albums and he only lived to 55. It’s totally bizarre. If you listen to his jazz, it’s all mixed up with that stuff too. He is also extremely famous for basically pissing everyone off.

A: Anyone else?

T: There are people who have really inspired me on different instruments. In composition, Zappa is one of the composers I’m really influenced by; but, I’m also really influenced by Richard Wagner because I grew up on his music. I was immersed in his music as a kid. I went to see The Ring Cycle live in Toronto when I was in grade 5 or 6 and it made a huge impact me. I really enjoyed it.

As far as other composers go, I really enjoy Ligeti and some other minimalists. There is a lot of stuff I’m into but I try to blend it. On the rock side of things, I love David Gilmore from pink floyd. I love his guitar playing and I decided I wanted to play like him. Then I got to a point where I was like “okay, I can play like David Gilmore, now what?” and since then I’ve learned a lot more since learning to play like that.

A: What accomplishments are you most proud of?

T: It’s hard because music has always been such a huge part of my life. If I weren’t doing music I would have no idea what I would be doing. I can’t think what my life would be like without music. As far as my greatest accomplishments, I’m proud of my second album. My rock album “In the Round” that I released last year. It’s hard, I feel accomplished about certain things about certain pieces too.

A: What advice would you give to beginners who are just starting out performing or starting composition or maybe starting to get out there?

T: I’m pretty sure everyone giving advice to upcoming musicians would say “put in the time man, practice” and that’s part of it but I think the biggest part of music or being a good musician and creating music people with appreciate, is understanding what music really is and what it’s meant for. This is kind of weird answer, but in a philosophical way, but what it the music is supposed to mean to the performer and the audience? When you love a piece a music, what is it you love about it? And you do want other people to feel that way with whatever music you are producing? I think if you understand that, there is that underlying drive that is going to make you practice.

A: How do you balance your music with your other obligations?

T: Music takes up a huge portion of my life, and it has for a long time. I took a gap year before I came [to university] where I basically just practiced. I’m also a black belt in tae kwon do, but I haven’t been keeping up with it since I moved because there aren’t any schools in Winnipeg that studies my style. This year, I have been really buckling down about making everything about music. I have many commitments mostly music oriented. 

One exception, I guess, is I have been doing other classes. I’m in an english class on the thematic approaches to the study of literature with a focus on horror literature. I just got a paper back from my professor that he is wanting me to revise and actually submit for publication. So I’m going to see how that works out.

A: Anything you are currently working on or that you are preparing that you would care to share?

T: Composition wise maybe not so much as I’m starting to buckling down to prepare for juries; but, I have a new band together here in Winnipeg that I’ve been working with for the past couple of months. We’ve been meeting weekly and working on the material from my most recent CD. We’ve got a reasonably big upcoming show with DNA DAY downtown at 72 Princess street on April 24th, 2015. I will be playing guitar and singing. Also Bryson Debroni will be playing drums and Nicolas Pura will be on bass. 

A photo posted by Ashley Bieniarz (@ashleybieniarz) on Apr 7, 2015 at 1:00pm PDT

Support Winnipeg Musician Tristan Zaba!

If you like this post, please hit the like and share button below! Please reach out to me via Twitter or my contact page! I would love to hear anything you have to say! Really, anything. I'm lonely. Also I now have a new Facebook page that will let you know when each post is posted! I would really appreciate if you could like it! Thank you!