Lainey Wilson rules Academy of Country Music Awards once again
It was her night once again. Lainey Wilson took home the top prize at the 60th annual Academy of Country Music Awards — the title of entertainer of the year — for a second year in a row. And that was after she cleaned house, taking home trophies for both female artist and album of the year.
'I really do have the best fans in the world,' she said in her final acceptance speech, admitting to experiencing impostor syndrome. 'I dreamed about entertaining. ... Country music has given me more than I deserve.'
Beyond Wilson's dominance, the 2025 ACM Awards were packed with celebration. Earlier, first-time and leading nominee Ella Langley's duet with Riley Green, the ubiquitous 'You Look Like You Love Me,' was named single and music event of the year. Both Langley and Green used their first acceptance speech to shout out classic country — songs with talking in them — that inspired their modern hit.
Chris Stapleton.
A revisitation of the past might have been a theme on Thursday night, evidenced right at the top of the ceremony: a 14-minute medley of six decades of country classics, performed by giants of the genre. Host Reba McEntire launched into Merle Haggard's 'Okie from Muskogee,' followed by Clint Black with Glen Campbell's 'Rhinestone Cowboy' and Wynonna Judd with The Judds' 'Why Not Me.' LeAnn Rimes returned to the ACM Awards stage for her 1997 ballad 'Blue.' Little Big Town tackled their 2014 track 'Girl Crush' and Dan + Shay delivered their 'Tequila.'
It was an exciting way to kick off the ACM Awards, live from the Ford Center at The Star in Frisco, Texas, just north of Dallas. And it was a show highlight, rivaled only by the introduction of the ACM Alan Jackson Lifetime Achievement Award, the inaugural trophy given to its namesake, Jackson, after he performed 'Remember When.'
Kix Brooks (right) and Ronnie Dunn.
In his acceptance speech, he joked that a fan named a dog after him. Having an award named after him? That isn't half bad, either. The first trophy of the night, the coveted song of the year, was awarded to Cody Johnson for his radio hit 'Dirt Cheap.'
Performances followed, fast and furious. McEntire, Wilson and Miranda Lambert teamed up for the world premiere of their new single 'Trailblazer,' celebrating women in country music.
Ella Langley and Riley Green.
Eric Church performed his brand-new single 'Hands of Time,' succeeded by the most awarded artist in the history of the award show, Lambert with 'Run.' She was then joined by Langley to duet 'Kerosene' from Lambert's 2005 debut album of the same name.
Zach Top stripped things down for 'Use Me.' Blake Shelton channeled the great George Strait for his new single 'Texas,' followed by Wilson with 'Whirlwind.' Kelsea Ballerini performed atop her 'Baggage.' Johnson rocked 'The Fall,' before performing 'Red Dirt Road' with Brooks & Dunn. Chris Stapleton and his wife, Morgane, harmonized on 'It Takes a Woman.'
Jelly Roll and Shaboozey joined forces for their collaboration, 'Amen.'
Alan Jackson.
'It's Shaboozey's birthday,' Jelly Roll said. 'We wanna thank y'all and we wanna thank God.' Backstreet Boys and Rascal Flatts closed the show.
The Oak Ridge Boys gave the group of the year award to Old Dominion. It was a moving gesture; in 2024 the Oak Ridge Boys' Joe Bonsall, a Grammy award winner and celebrated tenor, died from complications of the neuromuscular disorder Amyotrophic Lateral Sclerosis.
Jessie Jo Dillon.
Another tearjerker: McEntire leading the audience in a sing-along of the late Kris Kristofferson's 'Me and Bobby McGee.' Male artist of the year went to Stapleton. Duo of the year was awarded to Brooks & Dunn.
Associated Press
Winners at a glance
ENTERTAINER OF THE YEAR
Lainey Wilson
FEMALE ARTIST OF THE YEAR
Lainey Wilson
MALE ARTIST OF THE YEAR
Chris Stapleton
DUO OF THE YEAR
Brooks & Dunn
GROUP OF THE YEAR
Old Dominion
NEW FEMALE ARTIST OF THE YEAR
Ella Langley
NEW MALE ARTIST OF THE YEAR
Zach Top
NEW DUO OR GROUP OF THE YEAR
The Red Clay Strays
ALBUM OF THE YEAR
Whirlwind: Lainey Wilson
SINGLE OF THE YEAR
You Look Like You Love Me: Ella Langley, Riley Green
SONG OF THE YEAR
Dirt Cheap: Cody Johnson
MUSIC EVENT OF THE YEAR
You Look Like You Love Me: Ella Langley, Riley Green
VISUAL MEDIA OF THE YEAR
You Look Like You Love Me: Ella Langley, Riley Green
ARTIST-SONGWRITER OF THE YEAR
Lainey Wilson
SONGWRITER OF THE YEAR
Jessie Jo Dillon
Tribune News Service
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Gulf Today
10-05-2025
- Gulf Today
Lainey Wilson rules Academy of Country Music Awards once again
It was her night once again. Lainey Wilson took home the top prize at the 60th annual Academy of Country Music Awards — the title of entertainer of the year — for a second year in a row. And that was after she cleaned house, taking home trophies for both female artist and album of the year. 'I really do have the best fans in the world,' she said in her final acceptance speech, admitting to experiencing impostor syndrome. 'I dreamed about entertaining. ... Country music has given me more than I deserve.' Beyond Wilson's dominance, the 2025 ACM Awards were packed with celebration. Earlier, first-time and leading nominee Ella Langley's duet with Riley Green, the ubiquitous 'You Look Like You Love Me,' was named single and music event of the year. Both Langley and Green used their first acceptance speech to shout out classic country — songs with talking in them — that inspired their modern hit. Chris Stapleton. A revisitation of the past might have been a theme on Thursday night, evidenced right at the top of the ceremony: a 14-minute medley of six decades of country classics, performed by giants of the genre. Host Reba McEntire launched into Merle Haggard's 'Okie from Muskogee,' followed by Clint Black with Glen Campbell's 'Rhinestone Cowboy' and Wynonna Judd with The Judds' 'Why Not Me.' LeAnn Rimes returned to the ACM Awards stage for her 1997 ballad 'Blue.' Little Big Town tackled their 2014 track 'Girl Crush' and Dan + Shay delivered their 'Tequila.' It was an exciting way to kick off the ACM Awards, live from the Ford Center at The Star in Frisco, Texas, just north of Dallas. And it was a show highlight, rivaled only by the introduction of the ACM Alan Jackson Lifetime Achievement Award, the inaugural trophy given to its namesake, Jackson, after he performed 'Remember When.' Kix Brooks (right) and Ronnie Dunn. In his acceptance speech, he joked that a fan named a dog after him. Having an award named after him? That isn't half bad, either. The first trophy of the night, the coveted song of the year, was awarded to Cody Johnson for his radio hit 'Dirt Cheap.' Performances followed, fast and furious. McEntire, Wilson and Miranda Lambert teamed up for the world premiere of their new single 'Trailblazer,' celebrating women in country music. Ella Langley and Riley Green. Eric Church performed his brand-new single 'Hands of Time,' succeeded by the most awarded artist in the history of the award show, Lambert with 'Run.' She was then joined by Langley to duet 'Kerosene' from Lambert's 2005 debut album of the same name. Zach Top stripped things down for 'Use Me.' Blake Shelton channeled the great George Strait for his new single 'Texas,' followed by Wilson with 'Whirlwind.' Kelsea Ballerini performed atop her 'Baggage.' Johnson rocked 'The Fall,' before performing 'Red Dirt Road' with Brooks & Dunn. Chris Stapleton and his wife, Morgane, harmonized on 'It Takes a Woman.' Jelly Roll and Shaboozey joined forces for their collaboration, 'Amen.' Alan Jackson. 'It's Shaboozey's birthday,' Jelly Roll said. 'We wanna thank y'all and we wanna thank God.' Backstreet Boys and Rascal Flatts closed the show. The Oak Ridge Boys gave the group of the year award to Old Dominion. It was a moving gesture; in 2024 the Oak Ridge Boys' Joe Bonsall, a Grammy award winner and celebrated tenor, died from complications of the neuromuscular disorder Amyotrophic Lateral Sclerosis. Jessie Jo Dillon. Another tearjerker: McEntire leading the audience in a sing-along of the late Kris Kristofferson's 'Me and Bobby McGee.' Male artist of the year went to Stapleton. Duo of the year was awarded to Brooks & Dunn. Associated Press Winners at a glance ENTERTAINER OF THE YEAR Lainey Wilson FEMALE ARTIST OF THE YEAR Lainey Wilson MALE ARTIST OF THE YEAR Chris Stapleton DUO OF THE YEAR Brooks & Dunn GROUP OF THE YEAR Old Dominion NEW FEMALE ARTIST OF THE YEAR Ella Langley NEW MALE ARTIST OF THE YEAR Zach Top NEW DUO OR GROUP OF THE YEAR The Red Clay Strays ALBUM OF THE YEAR Whirlwind: Lainey Wilson SINGLE OF THE YEAR You Look Like You Love Me: Ella Langley, Riley Green SONG OF THE YEAR Dirt Cheap: Cody Johnson MUSIC EVENT OF THE YEAR You Look Like You Love Me: Ella Langley, Riley Green VISUAL MEDIA OF THE YEAR You Look Like You Love Me: Ella Langley, Riley Green ARTIST-SONGWRITER OF THE YEAR Lainey Wilson SONGWRITER OF THE YEAR Jessie Jo Dillon Tribune News Service
Gulf Today
26-12-2024
- Gulf Today
Keith Kupferer at last becomes a headliner in 2024
The acting life of Keith Kupferer spans two unlikely leading roles. The first was Stanley Kowalski in 'A Streetcar Named Desire' in high school. He was barely old enough to drive. 'I didn't understand a lot of it,' Kupferer says now. 'To say the least.' Forty years later, he got cast in the Chicago-based film 'Ghostlight,' which made its world premiere in January at the Sundance Film Festival. For his performance, Kupferer scored both Gotham Award and Independent Spirit Award nominations in the leading role category, alongside Colman Domingo. (Domingo recently won the Gotham prize.) Kupferer anchors the IFC Films release 'Ghostlight' as Dan, a construction worker grieving the heaviest of personal losses, while more or less accidentally joining a storefront theater production of 'Romeo and Juliet.' After a young actor cast as Romeo bails out, with opening night approaching fast, first-time actor Dan reluctantly steps up to play Shakespeare's unluckiest teenager in love. In 30 years of TV and film appearances, Kupferer has played cops, coaches and other supporting roles calling for salt-of-the-earth, down-to-earth, terra firma types. (On stage, he has amassed a far broader array of characters over time.) The 'Ghostlight' role was written for Kupferer, now 59, by screenwriter and co-director Kelly O'Sullivan, who'd acted with him in the 2014 American Theatre Company staging of 'The Humans.' So: a comfortable fit. The unlikely aspect is simply this: It's Kupferer's first leading role in a movie. 'Before 'Ghostlight,'' he tells me, after pouring some coffee at his suburban Evanston home, 'I would've said, 'Well, this is it. This is my career, and I'm fine with it. I'm a day player. Maybe I can get a week on a series or a movie here and there, but no one's hiring me as a lead.' Then, when this came along, I thought, 'OK, this is my one opportunity. Don't mess it up.' In 'Ghostlight,' Kupferer shares crucial scenes with his wife, Tara Mallen, founder of Chicago's 30-years-and-counting Rivendell Theatre Ensemble. She plays Sharon, Dan's schoolteacher spouse; the couple's real-life daughter, Katherine Mallen Kupferer, portrays Daisy, a theater kid to the core and a storehouse of resentments. She's hurting inside, no less than her parents, just in a different way. With Dan in 'Ghostlight,' says Kupferer, 'the hard part was figuring out ... ' He pauses, clears his throat. 'Figuring out how much grief this man — ' Shorter pause, then, quietly: 'Figuring out the right amount of grief this man's holding onto, because of what happened, which the audience learns about as the story unfolds. Holding onto that feeling as an actor, especially if you're a parent, to stay in the place you need to, that's ... that's the job.' He doesn't love talking about acting. 'It's so easy to sound like you're full of precious, esoteric crap. Whatever you do — whether you're an actor, or a writer, or a plumber — it's the same, really: You get into a headspace where you're focused on the work. With acting, you do certain specific things to call up emotions to influence your behavior. Sometimes it's not fun. But you do it.' Kupferer's father, now gone, was a plumber. His mother acted professionally for a while, before her three sons came along, and then worked as a sales rep for the Lakeville Journal in Connecticut. The family started out in West Orange, New Jersey, and moved to Millerton, New York, not far from Connecticut. Kupferer and Mallen met when they were 19, at Dutchess Community College. They went out for a while, broke up, got back together eight years later. And in 1992 they tied Mallen's futon onto the top of Kupferer's Corolla and drove from New York to Chicago. The 'Ghostlight' reception has launched a nicely busy year for Kupferer. He filmed a recurring role in the limited series 'Emperor of Ocean Park,' now streaming. He and Mallen and a lot of other Chicago-based folks did a Coke commercial directed by Christopher Storer of 'The Bear.' 'Chicago Fire,' two episodes. Two new indie features, 'Night Nurse' and, for a one-day gig in Dalton, 'Be Right Back.' During the times when 'I felt like I was done with this,' he says, 'Tara kept me going.
Khaleej Times
29-11-2024
- Khaleej Times
When Nelson Mandela advised world leaders to study what Sheikh Mohammed had achieved in Dubai
It does not matter if you have travelled the world. Chances are, if you live in Dubai, the world will come to you. This creation of a modern metropolis that looks back on its past with pride and gazes at the future with confidence is a result of astute leadership — that of Sheikh Mohammed bin Rashid Al Maktoum, Ruler of Dubai and Vice President and Prime Minister of the UAE. Dubai's journey to becoming a global metropolis is reflective of Sheikh Mohammed's own evolution as a leader, something biographer Graeme Wilson documents in his book, To Be The First, which will be launched at the Emirates Airline Festival of Literature early next year. From responding to the crisis that was Cyclone Bhola by sending emergency aid to managing a hijacking crisis when he was all of 23, Sheikh Mohammed's life is as inspiring as it is engaging. Ahead of the launch, we speak to Wilson, who has penned authorised biographies on UAE's Founding Father Sheikh Zayed bin Sultan Al Nahyan, Sheikh Khalifa bin Zayed Al Nahyan, and Sheikh Rashid bin Saeed Al Maktoum, as well as the Heads of State of Azerbaijan, Kazakhstan, Oman, Sri Lanka, and the Maldives. Edited excerpts from an interview: Tell us about your formative years. What did your childhood look like? A normal middle-class background in the north of England. Very normal. I wanted to be a professional speedway rider, but two things stopped me. An absolute lack of talent and no sense of balance on a motorcycle, then a sudden passion for words. My mother owned a bookshop and it was there that I gained an interest in books from an early age. Most of all, I loved to read biographies of political titans. Then, I found I enjoyed writing myself. As a 13-year-old, I was freelancing, penning articles for The Northern Echo and other regional newspapers. The thrill of seeing my byline printed on an article was intoxicating. From 15, I freelanced for various national newspapers, including The Daily Mail and The Racing Post. At which point did you find yourself drawn towards writing biographies? I will always love the instant kick that writing for newspapers provides, seeing an article printed the following day. I still miss that. Books take a long time to research, write and publish, so they are less of an instant kick. But it was reading Richard Holmes' Footsteps in 1987, aged 17, that made me fall in love with biographies and want to write that quality. Holmes profiled a series of 19th century literary heroes — Robert Louis Stevenson, Mary Wollstonecraft, Shelley and Gérard de Nerval. Footsteps was about them, but also a biography of a biographer. It was fascinating. What are your initial memories of being in the UAE? I arrived in Dubai on holiday in 1990, aged 20. It took me three days to resolve that I was not going back to England. Dubai had a can-do atmosphere. And I was lucky enough to get a job as a reporter with Khaleej Times. So, I arrived 34 years ago and I am still here. I remember fondly the one lane road between Dubai and Abu Dhabi. The Lodge was where we socialised. The Rugby 7s. Dubai Country Club. Attempting (but failing miserably) to learn Arabic so many times. When I joined Khaleej Times, it offered me the opportunity to pursue stories that allowed me to explore the country. I met the Founding Father Sheikh Zayed bin Sultan Al Nahyan, which was extraordinary. In 1992, I met Sheikh Mohammed for the first time. He had a gravitas and an ambition that I found unique. I have met dozens of world leaders in my career, as a writer, documentary maker and speechwriter, and there are only several where I came away thinking 'wow'. Margaret Thatcher was one. Bill Clinton was another. Sheikh Mohammed is definitely one of those. It was in 1990, the year I arrived, that Sheikh Rashid bin Saeed Al Maktoum died. He fascinated me, a genius about who so little was really known. Several years on, I approached the late Sheikh Hamdan bin Rashid Al Maktoum to ask if I could write a book on Sheikh Rashid. Father of Dubai was my first biography. I loved the process of writing it. How challenging is it to write biographies of public figures when so much about them is already in the public domain? It is challenging. But in a good way. I have been lucky to write and ghost-write biographies and autobiographies for more than a dozen world leaders. In each case, we have pushed the envelope by interviewing more people and visiting more archives than anyone else, in order to add context and uncover elements that are new and fresh. And to add colour and verve. That is the challenge. To learn more. For example — and this is my bugbear — there is a tendency for researchers to slavishly head for the National Archives in London, to access British records. They are, undoubtedly, a wonderful resource, but hundreds of researchers have been through the same files thousands of times. There is nothing new. It is just lazy to rely on that single, tired source. We will go to university, corporate and private archives. It may take three days of work in one archive to come up with a single letter, or just one document that relates to my subject. But that fresh new piece of information can have a cascade effect and open up a whole new avenue of research, a new aspect to the life of a subject that no-one really knows. That's my adrenaline. A discovery like that. Let me give you an example. I spent a week in an archive in Cambridge and, buried in a huge file of random documents, found a 1965 memo written by former British Prime Minister Harold Wilson referencing Sheikh Rashid supporting multiple promising cancer research programmes in the mid-1960s. This led me to delve elsewhere and a broader story emerged, of a man who was passionate about pushing the envelope on the science of cancer research. It is a compelling, unknown aspect about a leader we thought we knew. Sheikh Rashid passed away nearly three-and-a-half decades ago and yet we are still learning about him. There are so many aspects of that remarkable character that we still don't know. What got you interested in writing a book about Sheikh Mohammed? Father of Dubai was published in 1999. I began seeking permission to produce Sheikh Mohammed's biography from then. You can say this new book is the culmination of a 24-year effort. He is just the most extraordinary character. I was honoured to meet and interact with him occasionally over the years. And, throughout my career, while working on other projects in dozens of archives in 25+ nations, I have always hunted documents on him, on Dubai, and on the UAE. Learning more, my fascination only grew. We have seen Dubai and the UAE grow, representing a very public testimonial to the energy that drives him. And, while he is a massive statesman and a titan of development, someone who had reinvented the way world leaders look at socio-economic development, there remained so little of his life and personality that we really knew. I wanted to be the writer given that honour and responsibility. I knew I could do this justice. What kind of interactions did you have with him for the book, if any? During the book, none. I met with dozens who have shared Sheikh Mohammed's journey, including family, friends, those who have worked with him, and for him, more than a dozen world leaders, those who shaped his formative years and others who have encountered him across his long journey. Their observations were illuminating to how the rest of the world views Sheikh Mohammed. For example, I interviewed a South African diplomat who was a former aide to Nelson Mandela. He was a huge fan of everything Sheikh Mohammed achieved. He recalled that when developing world leaders met Mandela and voiced frustration at the slow pace of change in their own countries, Mandela would advise them to study what Sheikh Mohammed had achieved in Dubai. What has been your favourite anecdote in the book? That is a very difficult question to answer. I love so many of the new elements we have uncovered. I think the most powerful takes us back to 1970. Cyclone Bhola is still the deadliest tropical cyclone on record. It struck the Bay of Bengal on November 12, 1970. It impacted East Pakistan (now Bangladesh), with winds reaching 185km/h and a storm surge causing widespread devastation. The cyclone caused an estimated 300,000 to 500,000 deaths, primarily due to flooding and collapsed infrastructure. Millions were left homeless. In those days, the United Nations and the international community did not have the mandate they do today in handling natural disasters. Nations and regions were largely left to their own devices in the face of adversity. Responding to Cyclone Bhola, however, Sheikh Mohammed had transporter aircraft filled with emergency aid in the air within 72 hours of the disaster. Over the ensuring weeks, Dubai leased boats and had those steaming towards the disaster zone filled with aid. What he was doing, was pioneering a template for disaster relief that we see today. I have interviewed a former President of Bangladesh, and regional leaders in the then affected region. They spoke of the seminal impact of that effort. And it is something he has done for so many nations and regions over the last half century, even before the more contemporary impacts of the Mohammed bin Rashid Global Initiatives. What is the one thing about Sheikh Mohammed that will come as a surprise to readers? What I think is extraordinary is that he remains so grounded. I interviewed a man whose family Sheikh Mohammed had boarded with when he was studying in Cambridge in the mid-1960s. He described Saturday nights at home with Sheikh Mohammed watching Match of the Day, a famous football show on the BBC. One minister told me a story about when she had the flu and he took time to offer her a traditional herbal remedy, a recipe that he had learned from his mother, Sheikha Latifa bint Hamdan Al Nahyan. Throughout the book, while we illustrate the stories around the soaring achievements of Sheikh Mohammed's life and career, these are punctuated with insights into his personal narratives... the day he bought his first thoroughbred… how he reacted to the Baku Metro disaster… the origins of Brand Dubai… Then there is his unbelievable precociousness. Thrown into military training at Mons Officer Cadet School in his teens, becoming the youngest Minister of Defence in the world in 1971, and, at just 23 spending days and nights in the Control Tower at Dubai Airport dealing with a hijacking crisis, the lives of so many innocent people in his hands. Think back. What were you doing at 23? I was frivolously enjoying life in Dubai. He was negotiating with terrorists during a skyjacking. When you think of Sheikh Mohammed, you think of an astute leadership that keeps its gaze on the future. In your research for the book, how did this aspect of Sheikh Mohammed's personality come through? I think the title of the book — To Be The First — and the story behind that title sums him up perfectly… On one occasion, in an informal moment, one of his ministers asked him: 'Why do we have to be the first in everything?' You can imagine that moment from how it was described to me. Sheikh Mohammed looked almost bemused at the question. His reply, for me, sums up everything we know about him: 'Don't my people deserve the best?' The very idea of settling for anything less is an anathema to him. That story sums up his personal grit, determination and a leadership ethos. There are many parts to the man that is Sheikh Mohammed. When you set out to write the book, did you want to focus on the statesman? The statesmanship and nation-building is important, of course. And we have been able to shed light on new aspects of those. Sheikh Mohammed's motivations, his approach, his management, his leadership. We learned of the seminal role he played in bringing to an end a protracted insurgency in the Philippines for example, being considered by the United Nations Secretary General a deft, neutral arbiter. And there are others. The more I delved into the story, the more depth became apparent. And there are so many other aspects that people will find illuminating. I mentioned Cyclone Bhola. Across the world, many philanthropists have publicity machines, hold press conferences and spend time talking to the media. By contrast, Sheikh Mohammed's quiet philanthropy has touched the lives of hundreds of millions of people across the globe. I have been able to portray a little of that. That is, perhaps, what I am most proud of. How much of Dubai's journey to becoming global metropolis reflects on Sheikh Mohammed's own evolution as a leader? The story of Dubai and the story of Sheikh Mohammed are entirely symbiotic. You cannot tell the story of one without the other. I challenge anyone to read Sultan bin Sulayem's recollection of the birth of the Palm concept and not be blown away by the vision of the man. The West often has a perception of Dubai as a glitzy city in the Middle East. As someone who has been writing non-fiction on leaders from this part of the world, how have your books managed to debunk that notion to tell the larger story of the region through its leaders? I hope they have helped, yes. Certainly, Sheikh Mohammed's reputation and visibility makes this a tome that will reach a wide audience. However, as a Westerner, I am increasingly aware of the rank ignorance of the general public, perpetuated by a woke, sensationalist media that will twist anything, however positive, in order to create clickbait. My role is to relate truths. To project a story based on historical documents and facts. And I am passionate about that. I am privileged to have made a home in the UAE, and to have been entrusted with telling the stories of giants, like Founding Father Sheikh Zayed and Sheikh Mohammed. Ironically, as someone who considers the UAE home, I see how these remarkable men are so much more substantive than the feckless popularists we are lumbered with in the West. It is interesting to note, however, that when I wrote Father of Dubai, there were precious few books on Emirati subjects. Since then, we have seen the emergence of a substantive body of work that is surely moving the dial and will surely have the effect of better informing the world. Each year, I see that evidenced at Emirates Airline Festival of Literature. So, when we launch To Be The First at the 2025 edition of the festival, it will be alongside such a wealth of literature that we should be optimistic.
