InDepth InterView: Lea DeLaria Talks ORANGE IS THE NEW BLACK Season Two, Christmas Show, New Album & More
Today we are talking to a terrifically talented and versatile stage and screen performer who has excelled in many arenas throughout her compellingly varied career - comedy, drama, stand-up, cabaret, jazz and beyond - the fiercely, fabulously idiosyncratic and ebulliently engaging Lea DeLaria. Espousing upon a wide range of topics and tracing her unique professional trajectory thus far, DeLaria sheds some light on a few of her most fondly remembered stage roles - revivals of THE ROCKY HORROR SHOW and ON THE TOWN on Broadway, as well as Off-Broadway turns in LITTLE FISH and PROMETHEUS BOUND included - as well as recounts her experiences participating in a handful of TV and feature films, new and old, as well - including the recent Hallmark original movie musical DEAR DUMB DIARY. Most importantly, DeLaria recounts her experiences starring on the Netflix mega-hit series Orange is the New Black and offers a glimpse of the major impact that the pop culture lynch-pin has had on her own life since its 2013 debut - while also preliminarily previewing what we can expect from Season Two, too. Plus, DeLaria reflects on her recording legacy, detailing the conception and production of some choice cuts from a few of her many arresting albums - such as "Broadway Baby", "The Ballad Of Sweeney Todd", "Puff" and "Sleigh Ride" - as well as shares first news on her new album project, highlighting the music and lyrics of David Bowie. Additionally, DeLaria teases her upcoming scandalously titled holiday-themed show at NYC cabaret hotspot Joe's Pub occurring in late December while also offering her candid perspective on favorite Christmas tunes and what is to come in her seasonal spectacular itself. All of that, FURTHER TALES OF THE CITY memories and much more in this engaging conversation with a true Broadway and Hollywood original.
More information on Lea DeLaria is available at her official site here.
She Can Cook, Too
PC: THE ROCKY HORROR SHOW on Broadway was such a wild and one of a kind production. Did Tim Curry ever come see it?
LD: Since you asked, I'll tell you the story: I was at a party with Tim Curry - it was right before rehearsals and we were out in LA and it was a typical LA party kind of thing and he was there, so we talked about it. He was really clear - he was like, "I won't be within one hundred miles of it." [Laughs.]
PC: He wasn't a fan! The original on Broadway was a flop, so perhaps he has some bad associations with it.
LD: The original stage version in London was a huge hit, though - and it did really well in LA, but, no, didn't do too well in New York, did it?
PC: Unfortunately not. Matthew Morrison told me some hilarious stories about Sebastian Bach backstage...
LD: Well, unfortunately, I wasn't there when Sebastian Bach came in - the only Riff-Raff I had the fortune of playing with was Raul [Esparza].
PC: One of Broadway's best.
LD: Yeah - Raul is just fantastic and that was really early on in his career, too; I think that might have been his first Broadway show...
PC: It was.
LD: It was one of my first shows, too - I had only done ON THE TOWN before that, with George C. Wolfe. It was very early on in my career in the New York theatre scene.
PC: You did LITTLE FISH not too long after that, right?
LD: Yes. I did Michael John [LaChiusa]'s LITTLE FISH at Second Stage.
PC: Did you meet Michael John through George?
LD: Yes. I met Michael John through George at THE WILD PARTY rehearsals, actually. I am such a huge fan of his music - and I was a huge fan even before I met him. I begged George to introduce me to him, so he did.
PC: THE WILD PARTY is a masterpiece - one of the very best musicals of the new century.
LD: I agree - THE WILD PARTY is a masterpiece. I have said it often and I will say it again: like CHICAGO, it was ahead of its time, and, like CHICAGO, I feel that there will be a revival - probably within the next seven years - and it will be a huge hit and run forever.
PC: There's a great role in it for you, too...
LD: Oh, I know - Queenie!
PC: Well, perhaps, but...
LD: [Big Laugh.] That was a joke, Pat! It's called irony. Of course I know who you mean - the lesbian stripper [Madeline].
LD: I wanted to play it in the original production! But, at that time, I think I was probably too young - and, now, I'd probably be too old. But, we are talking about the theatre, in which people play much younger than themselves until they are, well, dead - they could be in the coffin, but they're still playing Laura [in THE GLASS MENAGERIE]. It's true.
PC: Too funny. Speaking of defying aging, how do you keep your skin so youthful?
LD: Pat, thank you so much for saying that - I have the smallest, most basic regimen; you know, the face cream and the eye cream that I use every day when I shower. It's all about good genes with me, hun - honestly. Both of my parents remained incredibly youthful and my siblings, too. It's not from taking care of myself, I assure you - no one abuses their body more than I do! [Laughs.]
PC: On that topic, one of my favorite recordings of yours is Michael John LaChiusa's "Puff". Is all of the lead-in to that a true story?
LD: Oh, yeah, honey - it's all autobiographical! Actually, "Puff" he wrote for LITTLE FISH, but another song I do, "It's A Sign", he wrote just for me. I recorded "Puff" on THE LIVE SMOKE SESSIONS, my third record. Also, "Welcome To My Party" [from THE WILD PARTY] opens my first record and it pretty much opens every act that I do - it's such a great opener. But, again, I am definitely a party person, though, as I said.
PC: ROCKY HORROR was known to have had a definite party atmosphere backstage...
LD: Well, I was the one who was elected to take Richard O'Brien out all the time during rehearsals because they were all Broadway people - you know, Jarrod Emick and Alice Ripley and even Daphne Rubin-Vega,too; of course, Joan Jett is sober, so she wasn't going out either. You see, he was very British and he just loved to party, so it was almost my job as a principal to take him out every night - my extra job. Chris Ashley [the director] would ask us, "So, where are you two going tonight?" And it was always hilarious. The cast was always out partying afterwards.
PC: As a stand-up comedian, in particular, did you find all the heckling and shouting back implicit in that show did not really disturb you, or did it?
LD: I always felt - and I hope no one takes offense to this; and I've said it before and I don't mean any offense by it - that in our production we should have been able to yell back at the audience when they yelled at us. But, only Rocky and the narrator had permission to do that. I'll always remember at the final performance of ROCKY HORROR - it was one of the shows that closed because of 9/11 and people were in a very odd space then - that everybody just did what we wanted to do, making up for all of those times when we didn't answer back. Yeah, the show was much longer, but it was hilarious - it was one of the best evenings you could have spent in a Broadway house, I think. So, I always felt like that would have been much more fun if we had been able to do that over the course of the whole run.
PC: What can you tell me about DEAR DUMB DIARY, directed by the Broadway ROCK OF AGES director, Kristin Hanggi?
LD: Yes, I just did a little movie called DEAR DUMB DIARY for the Hallmark Channel. It's a tween movie musical in which I play the lunch lady, Ms. Bruntford.
PC: Do you sing in it?
LD: Honey, are you kidding?! Of course! I have a big production number!
PC: What great news!
LD: Oh, yeah. It's fantastic. I mean, it's very tween - if you're not a fourteen-year-old girl, it might not be for you, but if you're a gay man or a musical fan, you'll be OK.
PC: Movie musicals are back - what are your thoughts on the recent performing arts revolution with Glee and the rest?
LD: Well, I think we go through ebbs and flows in terms of what we like in popular entertainment. It's not the first time that the American society has embraced musicals - obviously, that was a big part of the escapism in the '20s, '30s and the '40s and you can go right up to WEST SIDE STORY winning the Academy Award in 1961. So, I am happy the pendulum has swung back and musicals are really popular again. I think it was unfortunate for the last few decades there was a time when musicals just weren't that hip.
PC: When exactly did you arrive in New York yourself?
LD: Right - it took me a while to get here. I was in Los Angeles before that and before that I was in Boston and before that I was in San Francisco. That's where I got my start - as a stand-up comic in San Francisco in the '80s. I had been performing in clubs in New York throughout the late-'80s and early-'90s, but I didn't move to New York and become a "New Yorker" until I got ON THE TOWN in the Park - that was the summer of '97.
PC: Having participated in FURTHER TALES OF THE CITY and lived in San Francisco, did you know Armistead Maupin?
LD: Yes. Oh, I've known Armistead since '82, I guess - right when I first started performing as a stand-up.
PC: Is anyone based on you in any of his stories?
LD: I don't think so - because of the time that a lot that took place, I wasn't in the San Francisco scene; the latter-'70s. I didn't become a part of the San Francisco society until about the mid-'80s. But, yeah, all those stories are actually very fictionalized, anyway - I love being in the movie, though; as a straight girl, no less! That makes me happy especially, I have to tell you. [Laughs.]
PC: Your version of "The Ballad Of Sweeney Todd" is sensational - how exactly did that arrangement come about? It's such an original take on the song.
LD: It's a very funny story - and, generally, it's a very long story, so I'll just try to give you the Reader's Digest version.
PC: Take your time!
LD: Well, first of all, just so you know, Steve [Sondheim] has heard me do it and he has been very, very amazingly complimentary to me over it. He's even e-mailed me about it. He absolutely loved my version of "Sweeney Todd" and I have to say that I was really nervous about it in the beginning because I know how he hates when people mess around with his stuff - oh, yeah - but, I think one of the reasons he likes my version is that all I really did was change the groove; the format of the song is still exactly the same.
PC: It is. The song remains the same.
LD: I didn't try to "fix his format," you know? I didn't turn it into eight-bar phrases that modulate at different times into a separate chord - I don't do that. I keep the chords as written and I keep the song as written and I just swing it. So, that's what I did.
PC: That's how you make it your own.
LD: Yeah. So, I think that's why he likes it, at least - because it's remaining true to him, but it's also remaining true to the language of jazz at the same time.
PC: What an instructive point to make.
LD: That's how I think it works. But, back to the story: it's actually pretty simple. I was doing THE ROCKY HORROR SHOW at the time and I hadn't really been going out - the two roles were taking a lot out of me and, as I am fond of saying, it was very athletic of me to do those two roles.
PC: It's a work-out for sure!
LD: It was. And, I am not a man and it is two male roles in two different male keys - two different male-sounding tenors. So, it was actually pretty good for me because usually I go out and party all the time, but I laid back for a while when I first started doing that and got settled into the eight shows a week and trying not to get sick and everything. So, after a couple months, I finally went out again and started my partying again, as it were, and I kept going to different jazz clubs in town and they kept asking me to sing and offering me free drinks if I did. So, basically, I ended up pretty loaded at the end of a night at this club called The Duplex - which we all know - and my friend John McMahon was there and we were just playfully doing every Broadway musical the way it should never be done.
PC: Such as?
LD: Oh, a hip hop version of ANNIE and stuff like that.
PC: Before the actual hip hop remake was a thing.
LD: Right! Exactly! [Laughs.] So, we made our own kind of thing out of them and we were also making up musicals, too - a musical of THE DIARY OF Anne Frank called LET'S BE FRANK; stuff like that.
PC: That's hilarious.
LD: It was a lot of fun. We were just out of control that night and I just sort of took over The Duplex. So, I don't know for sure, but I think it was actually John's idea to start with - to do "The Ballad Of Sweeney Todd" in swing. I remember we both were howling with laughter, thinking it was really funny, and then we started kind of doing it together and sort of looked at each other and said, "This is unbelievably great!"
PC: And so it was born.
LD: And so it was. It turned out really, really good. So, after that, I took what he did with it to another arranger and he added a couple of things to it and then I added a couple of things to it and so then we had this kind of new version that we have now.
PC: Your "Broadway Baby" is a totally different vibe - a really relaxed and equally fantastic performance in its own way, I might add.
LD: It's funny you brought up TALES OF THE CITY, because I was actually filming that when I was coming up with the arrangement for "Broadway Baby"!
PC: No way!
LD: Yeah. I was actually on the set, working out exactly what I was going to do with it because I was going to record it right after I had finished filming that. I remember I was in my trailer with a tape recorder and I would sing it over and over and over again and every so often I would hear Laura Linney in the next trailer over yelling to me, "That one was really good, Lea!" [Laughs.]
PC: What a great memory!
LD: Laura was really sweet - and it was just so hilarious. So, I think I affected just the right feel for that one - it's somewhere in between a little baby girl and a big Broadway sound.
PC: Since we are entering the holiday season, I also wanted to touch on your special take on "Sleigh Ride" on the peerless HOME FOR THE HOLIDAYS BC/EFA charity album.
LD: Oh, thank you. the arrangement for "Sleigh Ride" actually came about when we were working on material for my Christmas show at Joe's Pub. I did this show there called WHO YOU CALLING A HO-HO-HO? A Lea DeLaria CHRISTMAS.
PC: What a title!
LD: It was a lot of fun - we did it back in like '99 I want to say. So, we did an arrangement of that that ultimately led to the recording of it and since then I have recorded it again - I tweaked that version and I think it's much better now. I also now have my own Christmas album out on the Warner Jazz label and that is a very popular track on there, too.
PC: 'Tis the season!
LD: Yeah, that came out about three or four years ago now - it was received incredibly well critically and people also bought it, so I was really happy with how that turned out. It's all secular stuff. Speaking of that, I am actually doing a Christmas show this year at Joe's Pub on the 21 of December.
PC: What's it called?
LD: OH, F*CK, IT'S CHRISTMAS!
PC: How did that idea come about?
LD: They offered it to me, actually - I've done a couple of shows there. I figure, hey, if the Jews in town want something other than a Barbra Streisand movie, they can come see my show! [Laughs.]
PC: That's so funny.
LD: Yeah, it's going to be a wild and crazy show. I am planning on everyone having a lot of fun - we will be doing lots of Christmas music, lots of swing music and there will be lots of guests.
PC: It certainly sounds like a seasonal event to look forward to, no doubt.
LD: I am not at liberty to say anything else about it, though - but, I can definitely promise you it will be a good group of people. We are going to get everybody in place soon. Gabe Ebert, Jackie Hoffman, Stephen Wallem and Maggie Cassella will be there, too.
PC: Can you perhaps give us a sneak peak of the song-list?
LD: Well, you can expect "The Hawaiian Christmas Song" - and, honestly, I don't even want to tell you this because it will ruin the joke, but I will be singing "The Hawaiian Christmas Song" in a coconut bra and a hula skirt.
PC: The show will sell out now just based on that!
LD: [Laughs.] I'm giving it all away!
PC: Will you be reprising your Orange is the New Black Christmas pageant musical number?
LD: Yes, I sang "God Rest Ye Merry Gentlemen" on ORANGE IS THE NEW BLACK, but I sang it kind of badly because they asked me to - the director came in and said, "Umm... too good!" That's exactly how they said it. So, I was like, "Sorry, it's really hard for me to sing badly - the best I can do is in the right key, but without the nice tone I usually have."
PC: And it worked!
LD: I'm glad to hear you think it did.
PC: Was it amusing to play the big musical moment with Annie Golden, as well? Your character prompts her to finally express herself, more or less, not to give anything away.
LD: Oh, well, she played my roommate in ON THE TOWN, so we had worked together before - we just adore each other. I have adored and loved Annie Golden for years and years now.
PC: Were you a fan prior to that - from HAIR, etc.?
LD: Oh, of course I loved her from the Milos Forman movie, but, also, from her band The Shirts - this fantastic punk band.
PC: Is there a forthcoming Orange is the New Black soundtrack planned yet as far as you know?
LD: I don't know - it's funny you say that, because I keep pitching to them to do a musical episode of ORANGE. I think we should do it like we were doing an episode of ORANGE and then you see them yell cut and then it would turn into an opera. Wouldn't that be fantastic?! [Big Laugh.]
PC: That sounds divine!
LD: I keep pitching it but no one is paying attention to me, Pat!
PC: Were you a fan of WEEDS prior to this? Anything goes in Jenji Kohan's universe.
LD: Oh, yeah, honey - I was a huge WEEDS fan. I feel so completely blessed to be working with Jenji Kohan on this - she is a genius of the modern day.
PC: WEEDS famously had epic cliff-hangers, as has ORANGE. What can you tell me about Season Two? Anything at all?
LD: I can't tell you anything, Pat - seriously! This is what I can tell you: I am in it. Also, I don't think I will get in trouble if I tell you that no one is going to be disappointed. It's so, so, so good.
PC: Are you thrilled that it is the top-rated Netflix series? Apparently, the ratings are well over ten million.
LD: It's beyond, isn't it? We're all just trying to get together with it. I mean, my life has basically changed overnight - and I am totally comfortable with it and happy with it and just having a great time with it all.
PC: Did you see a big change in a short period of time? You've said people constantly approach you now, true?
LD: Constantly - non-stop. I put a hat on, I put sunglasses on and I cover up my tattoos when I don't want to be noticed. I have noticed that now that it is getting colder outside, though, and I am more covered up, that people don't recognize me as much - unless they are standing right next to me or something. I'll tell you a story: I recently went bar-hopping with my manager and we were on a gay bar crawl - we started on one end of 9th and just kept going - and we couldn't get from one place to another without someone coming up to me and saying something. At one point my manager said, "This is ridiculous - ridiculous!" And, I said to him, "I've been trying to explain to you what my whole life has been like for the last month or two and now you can see it for yourself!"
PC: Step into your shoes.
LD: Yeah! I mean, it's only been a few months now - three or four months. It's crazy.
PC: What are your thoughts about the new format Netlfix is introducing with Super HD - which your series is filmed in, as you must know?
LD: Listen, all actors and directors and make-up people are incredibly aware of HD, let me tell you! [Laughs.] We are very, very aware of it. But, the make-up people are very, very aware of it - I mean, no one is going to let you walk out on set with a hair on your face or something. They are really aware of it because it is so unforgiving. And, if HD is unforgiving, imagine what Super HD is! So, yeah - we are really very careful about it.
PC: Do you really do the push-ups and those physical scenes or do you have a body double for that?
LD: Everything is all me! It's all me, baby - absolutely real.
PC: The violence on the show is so realistically depicted, as well. There are stunt people onset for a lot of it, I would imagine, yes?
LD: Oh, yes - definitely. Even the minorest of stunts has a stunt guy present.
PC: What is it like working with your furry co-stars?
LD: Well, Avery was a puppy - Little Boo; her real name is Avery - so, you know, we've seen some hilarious outtakes of me trying to get Avery into a room on an action take and she would run and then just stop and lay down. You know how dogs do that - they just run and then stop and lay down? She would do that over and over. So, then, after that, I would get behind her and I'd be pushing her and trying to roll her over and stuff like that - and, of course, all of that made it onto the party reel for the end of the shoot!
PC: Of course.
LD: But, yeah, to answer your question, she's a puppy so she really doesn't do what we tell her to do - she's a puppy!
PC: The trainers are right off-camera, as well, correct?
LD: Oh, yeah - absolutely. They are right there on set. But, you know, she's a puppy! She's not a grown dog who has been trained to do anything, so she was just being a puppy! It was hilarious, though.
PC: There are a slew of fellow theatre actors on the series - you previously appeared with Uzo Aduba in a musical pretty recently, did you not?
LD: Yes. Uzo and I did PROMETHEUS BOUND at the American Repertory Theater.
PC: What was that experience like? What an unusual piece.
LD: Let's talk about PROMETHEUS BOUND! First of all, what an amazing cast! Gavin Creel was so, so good - just beyond. I would kill to work with Gavin Creel again - he is an amazingly talented young man and the two of us really hit it off onstage. There is a lot of chemistry between us because we like each other a lot. And, then, there is Gabe Ebert - we played bad guys along with Michael Cumano and the three of us were very, very, very tight. We called ourselves the triumnitive of evil. And, then, there was Uzo - I mean, come on! She's incredible. It was such a great show - the music and the book were so amazing. It was an amazing show - we were all surprised when it didn't transfer; we were shocked, actually.
PC: What a shame. It was very daring.
LD: I am still in shock about it not transferring to New York - it really should have transferred.
PC: Would you be open to appearing in a concert version someday, maybe?
LD: Oh, that would be amazing! That would be amazing - I'd love to do that.
PC: Have you considered recording any of your live 54 Below shows?
LD: Well, I am on the Warner Jazz label, so at this point I am already dedicated to my next record for them.
PC: What can you tell us about that project?
LD: It is called HOUSE OF DAVID and underneath that it says "DeLaria + Bowie = Jazz".
PC: How provocative!
LD: Yeah, I am really excited about it. It's jazz covers of twelve David Bowie tunes. I am trying to get it out this spring - we are working on it really hard right now and are hoping to record it at the end of this year or at the very latest in January so we can have it out around the same time as the second season of ORANGE IS THE NEW BLACK. We are working with Netflix on timing that now, so I hope it works out. If it doesn't, we'll just release it a month or two after - we'll figure it out.
PC: What are your feelings on viewers binge-watching the series?
LD: Pat, listen: I am an actor; I am a stand-up comic; I am a singer; I am a performer. That's what I do. So, business is not my thing, but what I can say about that is this: darling, obviously it worked!
PC: You can say that again!
LD: Anybody that thinks it's a weird idea or something needs to look at the numbers, because obviously it worked. So, I don't think I need to make any comment on Netflix's business plan because obviously they really know what they are doing. The success speaks for itself.
PC: It is reinventing the medium in many ways. It makes the old methods seem so antiquated.
LD: I know! I know. Isn't it hilarious? The other thing people complain to us about is, you know, "How long does it take to get this done?!" And, it's like, "Listen, this is a television show!" I mean, we are on a nine-day shoot schedule and we don't work weekends, so, honestly, it takes six months to film a season of the show - it's a well-documented fact. You can't just churn these things out - it takes six months. We just can't give you another season in two minutes. It's hilarious to hear how people watch it, though - and how much they are looking forward to the new season. I mean, I've talked to people who've watched the whole thing four or five times through - I'm like, "But, it's only been out three or four months!" [Laughs.]
PC: Are you considering pitching a solo show of some sort to Netflix, too? Maybe a variety special?
LD: Oh, of course - absolutely! I'm not a fool! We are going to take meeting after meeting with the head of comedy there and try to come up with a comedy special for Netflix.
PC: So, what's next for you in 2014?
LD: Well, my current show is called THE LAST BUTCH STANDING, but I am thinking of changing the title to ORANGE IS THE NEW BUTCH - but, it seems so pandering to me! Even I can't pander that much. But, anyway, that is a show I have been working on for over a year and we are looking to film that soon, so people can look out for that. When we film it, we will definitely be filming it in New York - I can't imagine filming it anywhere else but New York.
PC: What are your personal favorite recordings that you have done? You've done standards, rock covers, jazz takes of theatre. Your "All That Jazz" has to make the top five list, I'd imagine!
LD: My top five? [Pause.] It would have to be "The Ballad Of Sweeney Todd", "All That Jazz", "Philadelphia", "Call Me" and "Love For Sale".
PC: Great picks. Do you prefer recording in a live environment versus a studio, particularly with stand-up?
LD: Yes - very much so. I very, very much prefer working in a live environment when I am recording something - especially stand-up. Having said that, I think that if you have the right director and the right format that you can get a fantastic filmed comedy special - like AZIZ ANSARI's just was on Netflix. So, what we have now is I have the material and we are talking to people about filming my current show.
PC: Lastly, I was curious to know: what are your memories of MY FAVORITE BROADWAY: THE LEADING LADIES? A spectacular filmed concert event.
LD: Oh, my God! That was the most amazing experience of my life! I will just never forget it as long as I live, you know what I mean?! It was so unbelievable. Remember, I hadn't even been on Broadway yet when I did that - I had just done ON THE TOWN in the Park. I was in the national tour of CHICAGO at the time and I came back to do this thing. I remember the rehearsal was so incredible - I met Julie f*cking Andrews! She shook my hand!
PC: Wow! She has done this column, actually - what an amazing lady.
LD: She really is. She even told me how great she thought I was - and how she thought my scat-singing was amazing. It was unbelievable. I mean, just being in Carnegie Hall with everybody there - everybody.
PC: What a line-up of stars and people who soon became major stars!
LD: Oh, yeah! Totally! Actually, my favorite moment was when they were pulling me up to go on - I am about to go on, and, I am telling you that I was freaking out I was so scared - and so we walk by Audra McDonald's dressing room and she stepped out and said, "Lea, I am so nervous! Are you nervous?" And, I thought to myself, "She's got three Tonys," because she only had three at the time [she now has five], "And she's nervous!" So, that helped me chill out for a minute and get myself together. So, honestly, without Audra McDonald, I don't think I would have been as good.
PC: You are the show-stopper of show-stoppers in that show - you totally stole the show.
LD: That was amazing - so amazing. Actually, I was in the beginning of the show in the actual show, but they edited it so that I am now the eleven o'clock number on the video.
PC: Was your encore always planned?
LD: No - we had it up in case. My cue was going to come from the director - you can see me in the video, walking off the stage and then the band starts playing. I mean, yeah, of course I played it for comedic effect, but I was given the cue to do the encore by the conductor.
PC: Thank you so much for this today, Lea. I am so happy for your new career high and we all can't wait for what's next.
LD: Oh, thank you so much, Pat - thanks for having me and thanks for talking to me today. This was great. Bye.
Photo Credits: Walter McBride, etc.
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