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The Blues Don't Care
Bobby Saxon lives in a world that isn’t quite ready for him. He’s the only white musician in an otherwise all-black swing band at the famous Club Alabam in Los Angeles during World War II—and that isn’t the only unique thing about him...
And if that isn’t enough to deal with, in order to get a permanent gig with the band, Bobby must first solve a murder that one of the band members is falsely accused of in that racially prejudiced society.
And if that isn’t enough to deal with, in order to get a permanent gig with the band, Bobby must first solve a murder that one of the band members is falsely accused of in that racially prejudiced society.
376 pages, Kindle Edition
Published June 1, 2020
10 people are currently reading
1451 people want to read
About the author
Paul D. Marks
26 books132 followersPaul D. Marks is the author of award-winning Mystery-Thrillers about imperfect or flawed people trying to do the right thing in a corrupt and unjust world.
He is the author of the Shamus Award-Winning mystery-thriller White Heat. Publishers Weekly calls White Heat a “taut crime yarn.” Betty Webb of Mystery Scene Magazine calls its sequel Broken Windows “Extraordinary”. Though thrillers and set in the 1990s, both novels deal with issues that are hot and relevant today: racism and immigration, respectively. Marks says “Broken Windows holds up a prism from which we can view the events burning up today’s headlines, like the passionate immigration debate, through the lens of the recent past. It all comes down to the saying we know so well, ‘the more things change, the more they stay the same’.”
His short story Ghosts of Bunker Hill was voted #1 in the 2016 Ellery Queen Mystery Magazine Readers Poll. His story Windward was selected for the Best American Mystery Stories of 2018 by Louise Penny and Otto Penzler, and won the 2018 Macavity Award for Best Short Story. His stories have won or been nominated for multiple awards. He has also been published in Beat to a Pulp, Alfred Hitchcock Mystery Magazine, Switchblade, Hardboiled and more. www.PaulDMarks.com
(Subscribe to Paul’s newsletter: http://pauldmarks.com/subscribe-to-my... -- and check him out on Facebook: facebook.com/paul.d.marks )
He is co-editor of the multi-award nominated anthology Coast to Coast: Private Eyes from Sea to Shining Sea. Two stories from which were chosen for The Best American Mysteries of 2018 and one received a Macavity Award that year.
Though Paul writes about other places, he considers himself an L.A. writer and lives in the Los Angeles area with his wife, dogs and cats. He has served on the board of the L.A. chapter of Sisters in Crime and currently serves on the board of the SoCal chapter of Mystery Writers of America.
He also has the distinction, dubious though it might be, of being the last person to have shot a film on the fabled MGM backlot before it bit the dust to make way for condos. According to Steven Bingen, one of the authors of the well-received book MGM: Hollywood’s Greatest Backlot: “That 40 page chronological list I mentioned of films shot at the studio ends with his [Paul D. Marks’] name on it.”
He is the author of the Shamus Award-Winning mystery-thriller White Heat. Publishers Weekly calls White Heat a “taut crime yarn.” Betty Webb of Mystery Scene Magazine calls its sequel Broken Windows “Extraordinary”. Though thrillers and set in the 1990s, both novels deal with issues that are hot and relevant today: racism and immigration, respectively. Marks says “Broken Windows holds up a prism from which we can view the events burning up today’s headlines, like the passionate immigration debate, through the lens of the recent past. It all comes down to the saying we know so well, ‘the more things change, the more they stay the same’.”
His short story Ghosts of Bunker Hill was voted #1 in the 2016 Ellery Queen Mystery Magazine Readers Poll. His story Windward was selected for the Best American Mystery Stories of 2018 by Louise Penny and Otto Penzler, and won the 2018 Macavity Award for Best Short Story. His stories have won or been nominated for multiple awards. He has also been published in Beat to a Pulp, Alfred Hitchcock Mystery Magazine, Switchblade, Hardboiled and more. www.PaulDMarks.com
(Subscribe to Paul’s newsletter: http://pauldmarks.com/subscribe-to-my... -- and check him out on Facebook: facebook.com/paul.d.marks )
He is co-editor of the multi-award nominated anthology Coast to Coast: Private Eyes from Sea to Shining Sea. Two stories from which were chosen for The Best American Mysteries of 2018 and one received a Macavity Award that year.
Though Paul writes about other places, he considers himself an L.A. writer and lives in the Los Angeles area with his wife, dogs and cats. He has served on the board of the L.A. chapter of Sisters in Crime and currently serves on the board of the SoCal chapter of Mystery Writers of America.
He also has the distinction, dubious though it might be, of being the last person to have shot a film on the fabled MGM backlot before it bit the dust to make way for condos. According to Steven Bingen, one of the authors of the well-received book MGM: Hollywood’s Greatest Backlot: “That 40 page chronological list I mentioned of films shot at the studio ends with his [Paul D. Marks’] name on it.”
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Displaying 1 - 19 of 19 reviews
November 28, 2020
It is 1940s Los Angeles, and Bobby Saxon wants to join the Booker “Boom Boom” Taylor Orchestra, a talented group restricted to certain clubs and locations because they are Black. Bobby is also a talented musician, and white, but he harbors a secret that causes him to seek out Booker’s band. Then a murder happens on the famous Apollo gambling ship during Bobby’s first real gig. A member of the band, James, is arrested and charged with the murder, mostly because of the color of his skin. Bobby is tapped by Booker to investigate and try to clear James, and again skin color is the reason. Bobby’s white skin will take him places Booker and the rest of the band members cannot go. Bobby is a reluctant investigator at first but is promised a spot in the band if he finds the real killer.
The vibe and feel of 1940s crime movies come alive in this novel. Those familiar with 1940s LA will be delighted as the actors, actresses, musicians, and gangsters of that era make appearances at many famed restaurants and watering holes. The blatant racism of that time is palpable and shocking. While he is wrapped up in the investigation, Bobby is also trying to make a personal decision that will chart the course of his future.
Bobby’s investigation moves a little slowly in the first half of the book but picks up speed in the second half. The secret Bobby is hiding is an important and intriguing aspect. Recommended for readers interested in 1940s historical fiction, crime novels, or the history of entertainment in Los Angeles.
The vibe and feel of 1940s crime movies come alive in this novel. Those familiar with 1940s LA will be delighted as the actors, actresses, musicians, and gangsters of that era make appearances at many famed restaurants and watering holes. The blatant racism of that time is palpable and shocking. While he is wrapped up in the investigation, Bobby is also trying to make a personal decision that will chart the course of his future.
Bobby’s investigation moves a little slowly in the first half of the book but picks up speed in the second half. The secret Bobby is hiding is an important and intriguing aspect. Recommended for readers interested in 1940s historical fiction, crime novels, or the history of entertainment in Los Angeles.
October 8, 2020
Los Angeles in the 1940s. Far from the usual glib dismissals of "Tinseltown," that time conjures deep, vivid images. While no place has a patent on noir, L.A. seems to be its natural habitat. The contrast between dark, shadowy locations and characters to match with a place known for its abundant sunshine makes for some vivid stories on screen and on the page. Marks gets much of that feeling in his latest mystery. An Angeleno, he gets his hometown during World War II right. Even better, he sets much of his action in a fabled yet little-used part of the city, the Dunbar Hotel and the Club Alabam on Central Avenue. That street south of Downtown was the center of social and cultural life for black Angelenos of that time.
Into this world comes Bobby Saxon. A young white man, he manages to win a spot playing piano in an otherwise all-black swing band. This happy state of affairs lasts for almost one show as a band member is arrested for murder. In this segregated, prejudiced society, there is only one member of the band who can investigate the matter with freedom. The bandleader orders Bobby to investigate even though the suspect hates him. He has to solve the case to continue in the band.
Bobby's sleuthing takes him around the city, serving as an excellent travelogue. At the same time, he comes to understand himself and how he sees himself. This is due to a secret he keeps, which revealing would ruin the story. Suffice it to say, it is worth being surprised when you pick up this book.
The book is not without its flaws. It goes on longer than it should, giving it a bit of a shaggy dog quality that cuts down on the momentum it should be building instead. This problem can be solved in future mysteries for Bobby (if Marks plans them). The other problem is that of the original murder victim. He is a German national doing business in California. Given that this is during a war in which Germany was the enemy of the U.S., I found it more than a little curious that not one character seemed to question how he was allowed to go about his business after the war started. Since Marks is obviously adept at historical research I do not understand this omission. Still, I found the story so enjoyable that I was finally able to overlook it as well. The mixture of a unique detective with a time and place that fascinate me makes this book an excellent historical mystery.
Into this world comes Bobby Saxon. A young white man, he manages to win a spot playing piano in an otherwise all-black swing band. This happy state of affairs lasts for almost one show as a band member is arrested for murder. In this segregated, prejudiced society, there is only one member of the band who can investigate the matter with freedom. The bandleader orders Bobby to investigate even though the suspect hates him. He has to solve the case to continue in the band.
Bobby's sleuthing takes him around the city, serving as an excellent travelogue. At the same time, he comes to understand himself and how he sees himself. This is due to a secret he keeps, which revealing would ruin the story. Suffice it to say, it is worth being surprised when you pick up this book.
The book is not without its flaws. It goes on longer than it should, giving it a bit of a shaggy dog quality that cuts down on the momentum it should be building instead. This problem can be solved in future mysteries for Bobby (if Marks plans them). The other problem is that of the original murder victim. He is a German national doing business in California. Given that this is during a war in which Germany was the enemy of the U.S., I found it more than a little curious that not one character seemed to question how he was allowed to go about his business after the war started. Since Marks is obviously adept at historical research I do not understand this omission. Still, I found the story so enjoyable that I was finally able to overlook it as well. The mixture of a unique detective with a time and place that fascinate me makes this book an excellent historical mystery.
June 10, 2020
With a heavy heart, I finished this book (e-book) actually last night. I absolutely fell in love with Bobby Saxon and, as I read, was mentally routing for Bobby's success. Paul Marks' portrayal of Bobby in the quest to be the only white member of an all African-American band was straight-forward, honest and heartwarming. So, too, his characterizations of the band members and African-American society at that time was spot on. Marks didn't cheapen the story with any flippant stereotyping, but, instead elevated the story to great heights with fitting prose. "The Blues Don't Care" is filled with suspense, thrills and chills. A perfect book!
August 13, 2020
★ ★ ★ 1/2 (rounded up)
This originally appeared at The Irresponsible Reader.
---
WHAT'S THE BLUES DON'T CARE ABOUT?
Bobby Sexton is a young Los Angeleno, of military age (who is not serving but wants to) during the height of World War II. His greatest desire in life is to be a piano player—he can't get on with a serious band (mostly due to age, it seems—but there's something else, too). So he starts spending time in black jazz clubs and finally works out the nerve to try to get in with the Booker ‘Boom-Boom’ Taylor Orchestra. He's given a shot, and during his first gig, a white man is murdered. One of the other band members is arrested for the murder, but Booker (and Bobby) are sure he's only arrested because he's a convenient black man.
So, Booker makes Bobby a deal—use his whiteness in a way that no one else in the band can—find the killer. Or, at least, find a way to get James out of jail. Drawing on knowledge of detecting gained solely out of films, Bobby gives it a shot.
He catches a break by striking up the beginning of a friendship with a Deputy assigned to the case (who is not all that sure that James is guilty, but isn't free to find an alternate suspect). Given the hints from that deputy, Bobby plunges in and soon finds himself lost in a maze of smuggling, big business, refugees, intelligence about the Concentration Camps, Nazis, and more. Bobby quickly learns (and relearns and relearns) that real life and real detective work isn't like it looks in the movies, still he seems to have some talent for detecting (or is he just too stubborn to realize he doesn't?).
A COUPLE OF THOUGHTS ABOUT THE SETTING
It occurs to me, that every book I've read that takes place in World War II (and doesn't involve the armed forces) takes place in or around New York City (or wherever the Pevensie children go). Seeing Los Angeles at this time was a nice change. I'd never really thought about what it was like during this time in L.A.—or anywhere that wasn't where my grandparents lived or NYC.
For a book that's largely about tolerance and acceptance of others, the era-appropriate racial and ethnic slurs fly pretty freely in this book. I can see a lot of people being made uncomfortable by it, being offended, or objecting to it. Not me, it's how people talked—the slurs directed toward the African Americans Bobby plays with or spends time around did feel ugly, and those who used them weren't depicted favorably. But the epithets for Axis powers (or their citizens) were casually used by just about every character. It didn't strike me as hateful, just as slang. Maybe it says something about me (or maybe I read too many books written in the 1940s and 50s) that I didn't care about it, it just seemed like context-appropriate dialogue. But I do know that not all readers will appreciate that aspect.
A NOTE ABOUT THE FRAMING DEVICE
There's a framing device used here to introduce us to Bobby, Booker, Bobby's music, and to give us a glance at their future. I'm not sure it was needed, I don't know what it added—but I didn't mind it. But as I thought about the book, I wondered, "why?" I just didn't see the value.
I can see where in any sequels it could come back, and maybe turn into something I don't wonder about, but I'm not convinced we need that device.
I'm not saying it was bad...just extraneous.
HAS BOBBY NEVER HEARD OF A NOTEPAD?
Sure, I get it. There were shortages of everything, rations were the name of the game, but Bobby couldn't have used a notepad, scratch paper, the back of sheet music, anything? Every time he looks something up, like an address in a phone book*, he rips out the page that has the information to take it with him.
* Kids and younger adults should ask your parents.
I remember reading other, older, PI novels where this happens some—and even some TV shows/movies. But Bobby's a serial vandal—I lost count of who many phone books he ruined. Please, please, Mr. Marks, get the guy a pencil and a notepad for the sequel.
SO, WHAT DID I THINK ABOUT THE BLUES DON'T CARE?
First of all, I would've liked more about the jazz/band. Bobby playing, thinking about, or listening to music was the best part of the book. Yeah, I know, it's a murder mystery, not a band novel, so the focus needs to be on the murder and hunt for the murderer. But, I tell you what, we could've used a lot more of the music scene for flavor, for grounding the story—and just for fun.
There are aspects of the novel, particularly about Bobby, that I don't feel comfortable talking about at this point—I can't do it without ruining some reveals. But I do appreciate the way that Marks deals with the characters and their circumstances. That's really all I can say.
I see that this is listed as the first of a series, and I'm not sure how long you can use the "fish out of water" musician-turned-detective idea before it stops working, but I'm interested in seeing how Marks tries to do it. I'll be back for at least the first sequel.
On the whole, though, I enjoyed this book. I enjoyed the amateur (very) detective stumbling his way through the L.A. underworld, through the racial divide, and through his first case—and through a degree of maturation and self-acceptance. It's got the heart of a hard-boiled mystery, but isn't as grim or violent as you'd expect (not that it's a cozy by any means). Marks hits the right notes* with his prose and characters, creating a mystery that appeals on many levels. I recommend this for mystery readers looking for the kind of thing they haven't read before.
* You know I had to.
Disclaimer: I received this book from the author via Saichek Publicity in exchange for this post and my honest opinion—thanks to both for this.
This originally appeared at The Irresponsible Reader.
---
WHAT'S THE BLUES DON'T CARE ABOUT?
Bobby Sexton is a young Los Angeleno, of military age (who is not serving but wants to) during the height of World War II. His greatest desire in life is to be a piano player—he can't get on with a serious band (mostly due to age, it seems—but there's something else, too). So he starts spending time in black jazz clubs and finally works out the nerve to try to get in with the Booker ‘Boom-Boom’ Taylor Orchestra. He's given a shot, and during his first gig, a white man is murdered. One of the other band members is arrested for the murder, but Booker (and Bobby) are sure he's only arrested because he's a convenient black man.
So, Booker makes Bobby a deal—use his whiteness in a way that no one else in the band can—find the killer. Or, at least, find a way to get James out of jail. Drawing on knowledge of detecting gained solely out of films, Bobby gives it a shot.
He catches a break by striking up the beginning of a friendship with a Deputy assigned to the case (who is not all that sure that James is guilty, but isn't free to find an alternate suspect). Given the hints from that deputy, Bobby plunges in and soon finds himself lost in a maze of smuggling, big business, refugees, intelligence about the Concentration Camps, Nazis, and more. Bobby quickly learns (and relearns and relearns) that real life and real detective work isn't like it looks in the movies, still he seems to have some talent for detecting (or is he just too stubborn to realize he doesn't?).
A COUPLE OF THOUGHTS ABOUT THE SETTING
It occurs to me, that every book I've read that takes place in World War II (and doesn't involve the armed forces) takes place in or around New York City (or wherever the Pevensie children go). Seeing Los Angeles at this time was a nice change. I'd never really thought about what it was like during this time in L.A.—or anywhere that wasn't where my grandparents lived or NYC.
For a book that's largely about tolerance and acceptance of others, the era-appropriate racial and ethnic slurs fly pretty freely in this book. I can see a lot of people being made uncomfortable by it, being offended, or objecting to it. Not me, it's how people talked—the slurs directed toward the African Americans Bobby plays with or spends time around did feel ugly, and those who used them weren't depicted favorably. But the epithets for Axis powers (or their citizens) were casually used by just about every character. It didn't strike me as hateful, just as slang. Maybe it says something about me (or maybe I read too many books written in the 1940s and 50s) that I didn't care about it, it just seemed like context-appropriate dialogue. But I do know that not all readers will appreciate that aspect.
A NOTE ABOUT THE FRAMING DEVICE
There's a framing device used here to introduce us to Bobby, Booker, Bobby's music, and to give us a glance at their future. I'm not sure it was needed, I don't know what it added—but I didn't mind it. But as I thought about the book, I wondered, "why?" I just didn't see the value.
I can see where in any sequels it could come back, and maybe turn into something I don't wonder about, but I'm not convinced we need that device.
I'm not saying it was bad...just extraneous.
HAS BOBBY NEVER HEARD OF A NOTEPAD?
Sure, I get it. There were shortages of everything, rations were the name of the game, but Bobby couldn't have used a notepad, scratch paper, the back of sheet music, anything? Every time he looks something up, like an address in a phone book*, he rips out the page that has the information to take it with him.
* Kids and younger adults should ask your parents.
I remember reading other, older, PI novels where this happens some—and even some TV shows/movies. But Bobby's a serial vandal—I lost count of who many phone books he ruined. Please, please, Mr. Marks, get the guy a pencil and a notepad for the sequel.
SO, WHAT DID I THINK ABOUT THE BLUES DON'T CARE?
First of all, I would've liked more about the jazz/band. Bobby playing, thinking about, or listening to music was the best part of the book. Yeah, I know, it's a murder mystery, not a band novel, so the focus needs to be on the murder and hunt for the murderer. But, I tell you what, we could've used a lot more of the music scene for flavor, for grounding the story—and just for fun.
There are aspects of the novel, particularly about Bobby, that I don't feel comfortable talking about at this point—I can't do it without ruining some reveals. But I do appreciate the way that Marks deals with the characters and their circumstances. That's really all I can say.
I see that this is listed as the first of a series, and I'm not sure how long you can use the "fish out of water" musician-turned-detective idea before it stops working, but I'm interested in seeing how Marks tries to do it. I'll be back for at least the first sequel.
On the whole, though, I enjoyed this book. I enjoyed the amateur (very) detective stumbling his way through the L.A. underworld, through the racial divide, and through his first case—and through a degree of maturation and self-acceptance. It's got the heart of a hard-boiled mystery, but isn't as grim or violent as you'd expect (not that it's a cozy by any means). Marks hits the right notes* with his prose and characters, creating a mystery that appeals on many levels. I recommend this for mystery readers looking for the kind of thing they haven't read before.
* You know I had to.
Disclaimer: I received this book from the author via Saichek Publicity in exchange for this post and my honest opinion—thanks to both for this.
June 14, 2020
Paul D. Marks is a multiple-award-winning author whose latest novel, THE BLUES DON’T CARE, is a striking illustration of the talent that has brought him those honors. It’s the first entry in what promises to be an entertaining and thoughtful series --- mysteries that not only have the requisite twists, turns, surprises and reveals, but also offer a penetrating look into our ubiquitous all-too-human flaws: greed, corruption, fear of the “other” and, especially, racism.
The novel is set in World War II-era Los Angeles. The protagonist is a troubled, supremely talented, extraordinarily intelligent mixed-up and messed-up young man named Bobby Saxon. Bobby wants more than anything in the world to be a jazz pianist in a ’40s-era big swing band. He gets that opportunity when he visits and “sits in” with an excellent band led by one Booker “Boom Boom” Taylor. The band is a perfect representation of the de facto segregation of the era. It’s a “colored” band. And if Bobby is ever going to be accepted into the group, he quickly must prove his musical bona fides.
He is invited to play a gig with the band on a big boat with a huge ballroom. Though the band is a product of segregation, the boat’s parties are frequented by wealthy people both black and white. On a break, he overhears a loud argument between a very outspoken and embittered band member named James Christmas and a rich-looking white man, Hans Dietrich. Dietrich’s side of the confrontation seems to indicate that he is a practiced Nazi propagandist, and the target of his hateful wrath is James.
Mutual hatred and the inevitable physical confrontation ensue. Hours later, Dietrich is discovered hanging from the rafters. He has been lynched. James goes to prison.
Booker thinks that James is innocent, but he can’t investigate the crime himself because he is black. A white police force would have nothing to do with him and would remain perfectly content with James’ conviction without regard to the question of his guilt or innocence. So Booker recruits Bobby to investigate the murder and declares that if Bobby can somehow clear James, he will be the band’s pianist. Bobby can’t resist the offer, even though he is a weak, skinny kid, totally ignorant of all things crime-related.
So the plot and the mystery unfold as Bobby searches for the real murderer. But the author’s surprises start early and hit hard. About a fifth of the way through the novel, we make a shocking discovery that I, for one, never saw coming --- even though Marks had given us several hints that I completely overlooked.
This is a fascinating exploration of the cultural and social realities --- fear, anger and bigotry --- that characterized wartime Los Angeles. In that world, black people, even black stars and celebrities, were second- or third- or thousandth-class semi-citizens. In THE BLUES DON’T CARE, Bobby is smack-dab in the middle of it all, learning the hard way the hardcore issues that characterized and plagued American life and American lives in the 1940s and are, to say the least, still plaguing us in the 2020s. Bobby suffers through those kinds of indignities and dangers as he investigates the imprisonment of an innocent black man. He faces life-threatening situations and enemies wherever he goes, all the while trying desperately to figure out exactly who he is and what kind of person he wants to be.
THE BLUES DON’T CARE is a historical, noir-ish mystery novel that delves deeply into the realities of a terrible time in America. Those realities still afflict us just as fiercely today, and we would do well to finally face them head-on and deal with them once and for all, this time with the seriousness they demand. As the pictures that Marks paints in this book suggest, we simply can no longer afford the ugly twin luxuries of complicity and apathy.
Reviewed by Jack Kramer
The novel is set in World War II-era Los Angeles. The protagonist is a troubled, supremely talented, extraordinarily intelligent mixed-up and messed-up young man named Bobby Saxon. Bobby wants more than anything in the world to be a jazz pianist in a ’40s-era big swing band. He gets that opportunity when he visits and “sits in” with an excellent band led by one Booker “Boom Boom” Taylor. The band is a perfect representation of the de facto segregation of the era. It’s a “colored” band. And if Bobby is ever going to be accepted into the group, he quickly must prove his musical bona fides.
He is invited to play a gig with the band on a big boat with a huge ballroom. Though the band is a product of segregation, the boat’s parties are frequented by wealthy people both black and white. On a break, he overhears a loud argument between a very outspoken and embittered band member named James Christmas and a rich-looking white man, Hans Dietrich. Dietrich’s side of the confrontation seems to indicate that he is a practiced Nazi propagandist, and the target of his hateful wrath is James.
Mutual hatred and the inevitable physical confrontation ensue. Hours later, Dietrich is discovered hanging from the rafters. He has been lynched. James goes to prison.
Booker thinks that James is innocent, but he can’t investigate the crime himself because he is black. A white police force would have nothing to do with him and would remain perfectly content with James’ conviction without regard to the question of his guilt or innocence. So Booker recruits Bobby to investigate the murder and declares that if Bobby can somehow clear James, he will be the band’s pianist. Bobby can’t resist the offer, even though he is a weak, skinny kid, totally ignorant of all things crime-related.
So the plot and the mystery unfold as Bobby searches for the real murderer. But the author’s surprises start early and hit hard. About a fifth of the way through the novel, we make a shocking discovery that I, for one, never saw coming --- even though Marks had given us several hints that I completely overlooked.
This is a fascinating exploration of the cultural and social realities --- fear, anger and bigotry --- that characterized wartime Los Angeles. In that world, black people, even black stars and celebrities, were second- or third- or thousandth-class semi-citizens. In THE BLUES DON’T CARE, Bobby is smack-dab in the middle of it all, learning the hard way the hardcore issues that characterized and plagued American life and American lives in the 1940s and are, to say the least, still plaguing us in the 2020s. Bobby suffers through those kinds of indignities and dangers as he investigates the imprisonment of an innocent black man. He faces life-threatening situations and enemies wherever he goes, all the while trying desperately to figure out exactly who he is and what kind of person he wants to be.
THE BLUES DON’T CARE is a historical, noir-ish mystery novel that delves deeply into the realities of a terrible time in America. Those realities still afflict us just as fiercely today, and we would do well to finally face them head-on and deal with them once and for all, this time with the seriousness they demand. As the pictures that Marks paints in this book suggest, we simply can no longer afford the ugly twin luxuries of complicity and apathy.
Reviewed by Jack Kramer
June 14, 2020
Paul D. Marks is a multiple-award-winning author whose latest novel, THE BLUES DON’T CARE, is a striking illustration of the talent that has brought him those honors. It’s the first entry in what promises to be an entertaining and thoughtful series --- mysteries that not only have the requisite twists, turns, surprises and reveals, but also offer a penetrating look into our ubiquitous all-too-human flaws: greed, corruption, fear of the “other” and, especially, racism.
The novel is set in World War II-era Los Angeles. The protagonist is a troubled, supremely talented, extraordinarily intelligent mixed-up and messed-up young man named Bobby Saxon. Bobby wants more than anything in the world to be a jazz pianist in a ’40s-era big swing band. He gets that opportunity when he visits and “sits in” with an excellent band led by one Booker “Boom Boom” Taylor. The band is a perfect representation of the de facto segregation of the era. It’s a “colored” band. And if Bobby is ever going to be accepted into the group, he quickly must prove his musical bona fides.
He is invited to play a gig with the band on a big boat with a huge ballroom. Though the band is a product of segregation, the boat’s parties are frequented by wealthy people both black and white. On a break, he overhears a loud argument between a very outspoken and embittered band member named James Christmas and a rich-looking white man, Hans Dietrich. Dietrich’s side of the confrontation seems to indicate that he is a practiced Nazi propagandist, and the target of his hateful wrath is James.
Mutual hatred and the inevitable physical confrontation ensue. Hours later, Dietrich is discovered hanging from the rafters. He has been lynched. James goes to prison.
Booker thinks that James is innocent, but he can’t investigate the crime himself because he is black. A white police force would have nothing to do with him and would remain perfectly content with James’ conviction without regard to the question of his guilt or innocence. So Booker recruits Bobby to investigate the murder and declares that if Bobby can somehow clear James, he will be the band’s pianist. Bobby can’t resist the offer, even though he is a weak, skinny kid, totally ignorant of all things crime-related.
So the plot and the mystery unfold as Bobby searches for the real murderer. But the author’s surprises start early and hit hard. About a fifth of the way through the novel, we make a shocking discovery that I, for one, never saw coming --- even though Marks had given us several hints that I completely overlooked.
This is a fascinating exploration of the cultural and social realities --- fear, anger and bigotry --- that characterized wartime Los Angeles. In that world, black people, even black stars and celebrities, were second- or third- or thousandth-class semi-citizens. In THE BLUES DON’T CARE, Bobby is smack-dab in the middle of it all, learning the hard way the hardcore issues that characterized and plagued American life and American lives in the 1940s and are, to say the least, still plaguing us in the 2020s. Bobby suffers through those kinds of indignities and dangers as he investigates the imprisonment of an innocent black man. He faces life-threatening situations and enemies wherever he goes, all the while trying desperately to figure out exactly who he is and what kind of person he wants to be.
THE BLUES DON’T CARE is a historical, noir-ish mystery novel that delves deeply into the realities of a terrible time in America. Those realities still afflict us just as fiercely today, and we would do well to finally face them head-on and deal with them once and for all, this time with the seriousness they demand. As the pictures that Marks paints in this book suggest, we simply can no longer afford the ugly twin luxuries of complicity and apathy.
Reviewed by Jack Kramer
The novel is set in World War II-era Los Angeles. The protagonist is a troubled, supremely talented, extraordinarily intelligent mixed-up and messed-up young man named Bobby Saxon. Bobby wants more than anything in the world to be a jazz pianist in a ’40s-era big swing band. He gets that opportunity when he visits and “sits in” with an excellent band led by one Booker “Boom Boom” Taylor. The band is a perfect representation of the de facto segregation of the era. It’s a “colored” band. And if Bobby is ever going to be accepted into the group, he quickly must prove his musical bona fides.
He is invited to play a gig with the band on a big boat with a huge ballroom. Though the band is a product of segregation, the boat’s parties are frequented by wealthy people both black and white. On a break, he overhears a loud argument between a very outspoken and embittered band member named James Christmas and a rich-looking white man, Hans Dietrich. Dietrich’s side of the confrontation seems to indicate that he is a practiced Nazi propagandist, and the target of his hateful wrath is James.
Mutual hatred and the inevitable physical confrontation ensue. Hours later, Dietrich is discovered hanging from the rafters. He has been lynched. James goes to prison.
Booker thinks that James is innocent, but he can’t investigate the crime himself because he is black. A white police force would have nothing to do with him and would remain perfectly content with James’ conviction without regard to the question of his guilt or innocence. So Booker recruits Bobby to investigate the murder and declares that if Bobby can somehow clear James, he will be the band’s pianist. Bobby can’t resist the offer, even though he is a weak, skinny kid, totally ignorant of all things crime-related.
So the plot and the mystery unfold as Bobby searches for the real murderer. But the author’s surprises start early and hit hard. About a fifth of the way through the novel, we make a shocking discovery that I, for one, never saw coming --- even though Marks had given us several hints that I completely overlooked.
This is a fascinating exploration of the cultural and social realities --- fear, anger and bigotry --- that characterized wartime Los Angeles. In that world, black people, even black stars and celebrities, were second- or third- or thousandth-class semi-citizens. In THE BLUES DON’T CARE, Bobby is smack-dab in the middle of it all, learning the hard way the hardcore issues that characterized and plagued American life and American lives in the 1940s and are, to say the least, still plaguing us in the 2020s. Bobby suffers through those kinds of indignities and dangers as he investigates the imprisonment of an innocent black man. He faces life-threatening situations and enemies wherever he goes, all the while trying desperately to figure out exactly who he is and what kind of person he wants to be.
THE BLUES DON’T CARE is a historical, noir-ish mystery novel that delves deeply into the realities of a terrible time in America. Those realities still afflict us just as fiercely today, and we would do well to finally face them head-on and deal with them once and for all, this time with the seriousness they demand. As the pictures that Marks paints in this book suggest, we simply can no longer afford the ugly twin luxuries of complicity and apathy.
Reviewed by Jack Kramer
July 19, 2020
The Blues Don't Care is a mysterious historical fiction set in the WWII time period. It tackles topics like corruption, racism, and many others that we are still facing today. I was taken aback by Paul D. Marks's talented writing style. This story is powerful and did a wonderful job developing his main character, Bobby Saxon.
As the story begins, a tragedy occurs that takes us back to get a story and background on who pianist Bobby Saxon really is. Bobby is a talented pianist trying to find a band to play with. When he has the chance to play in a band led by the infamous Booker Taylor, he jumps at the chance. There are a few hurdles, one being his race. Bobby is the only white person in the band and stirs up some controversy. That same night, one of the band members is seen arguing with a white male who then ends up dead right in the middle of the ballroom. Booker knows his band member didn't do it but because they are black, they can't fight it. So, Booker makes Bobby a proposition. If Bobby investigates and finds the real murderer, then he will have a permanent position in the band.
Bobby has always dreamed of being in part of a jazz band and will do whatever it takes. He begins investigating and the author highlights the prejudice, racism, and corruption that took place in the 1940's. As the story proceeds, I was intrigued by the mystery of the story. About more than halfway through the book, we discover secrets about Bobby. I didn't see it coming but I applaud Paul's handling of the topic. It was done in a genuine way always giving respect to the honest truth of the situation.
I give The Blues Don't Care 5 stars. I was captivated from the very start. This author tackled so many subjects that few care to bring up. The detail of the story took gave me an insight on all the injustices in the 1940's. I appreciated the heart of the story which was a person chasing their dream and never looking back. Bobby Saxon is a well-developed character that was able to learn, grow, and hone in on his craft. There is a main secret of Bobby's that I didn't see coming. This is such a fascinating historical fiction that I thoroughly enjoyed!
As the story begins, a tragedy occurs that takes us back to get a story and background on who pianist Bobby Saxon really is. Bobby is a talented pianist trying to find a band to play with. When he has the chance to play in a band led by the infamous Booker Taylor, he jumps at the chance. There are a few hurdles, one being his race. Bobby is the only white person in the band and stirs up some controversy. That same night, one of the band members is seen arguing with a white male who then ends up dead right in the middle of the ballroom. Booker knows his band member didn't do it but because they are black, they can't fight it. So, Booker makes Bobby a proposition. If Bobby investigates and finds the real murderer, then he will have a permanent position in the band.
Bobby has always dreamed of being in part of a jazz band and will do whatever it takes. He begins investigating and the author highlights the prejudice, racism, and corruption that took place in the 1940's. As the story proceeds, I was intrigued by the mystery of the story. About more than halfway through the book, we discover secrets about Bobby. I didn't see it coming but I applaud Paul's handling of the topic. It was done in a genuine way always giving respect to the honest truth of the situation.
I give The Blues Don't Care 5 stars. I was captivated from the very start. This author tackled so many subjects that few care to bring up. The detail of the story took gave me an insight on all the injustices in the 1940's. I appreciated the heart of the story which was a person chasing their dream and never looking back. Bobby Saxon is a well-developed character that was able to learn, grow, and hone in on his craft. There is a main secret of Bobby's that I didn't see coming. This is such a fascinating historical fiction that I thoroughly enjoyed!
June 21, 2020
Clearly drawn picture of LA or the mid 40’s
I grew up in the San Fernando Valley - my fifth birthday was the year we moved there: 1952. There were still some orange groves there. I recall one realtor’s slogan:”Lee Coggins - I know the Valley.” I may have the name wrong - but it was a time when one man could boast of knowing that real estate market.
The novel predates that by 10 years - and it was WW II that made LA into a big time US city. There may be anachronisms in the story - I’m not sure when the capitol records building was built - thought it was newer. But many details fit in well - little things like the electric busses. And of course no freeways. Curtis field being a military base. It was army Air Force rather than Air Force until after WW II. I think gender identity was more of an issue at that time. I can remember that boys with longish hair in ‘duck bill’ cuts were made fun of. The idea that it was OK for young men to have long hair was a gift from the Beatles. The book was more about the personal development of Bobby rather than the mystery per se. That was almost incidental to the story. I did find the idea of burning rubber unlikely for the cars, and gas rationing of the time. But by the late 50s ‘chicken’ a way of proving one’s masculinity by racing towards the edge of a cliff and being the last to stop was certainly talked about.
The race issue seems particularly pertinant in this post Floyd era - but it adds a lot of color and humanity to the story without that.
I am interested in learning more about the author. My 4th grade teacher in 1954 or so was Mrs. Marks. I wondered if that could have benn a relative of the author’s.
I grew up in the San Fernando Valley - my fifth birthday was the year we moved there: 1952. There were still some orange groves there. I recall one realtor’s slogan:”Lee Coggins - I know the Valley.” I may have the name wrong - but it was a time when one man could boast of knowing that real estate market.
The novel predates that by 10 years - and it was WW II that made LA into a big time US city. There may be anachronisms in the story - I’m not sure when the capitol records building was built - thought it was newer. But many details fit in well - little things like the electric busses. And of course no freeways. Curtis field being a military base. It was army Air Force rather than Air Force until after WW II. I think gender identity was more of an issue at that time. I can remember that boys with longish hair in ‘duck bill’ cuts were made fun of. The idea that it was OK for young men to have long hair was a gift from the Beatles. The book was more about the personal development of Bobby rather than the mystery per se. That was almost incidental to the story. I did find the idea of burning rubber unlikely for the cars, and gas rationing of the time. But by the late 50s ‘chicken’ a way of proving one’s masculinity by racing towards the edge of a cliff and being the last to stop was certainly talked about.
The race issue seems particularly pertinant in this post Floyd era - but it adds a lot of color and humanity to the story without that.
I am interested in learning more about the author. My 4th grade teacher in 1954 or so was Mrs. Marks. I wondered if that could have benn a relative of the author’s.
June 22, 2020
The author is a native of LA and it shows. He is very knowledgeable about its history, its architecture, its people. The city is a vibrant character in its own right. The time in which the book is set is evocative. The bands, the huge boom in business, the early days of the consumer society, the cars, the segregation, Hollywood and the stars who worked there, the gangsters, the music – it’s all here. Many famous names are dropped: many famous watering holes of the time make an appearance. There is much about the war and what the conscripts may be facing overseas. Period detail is very good indeed.
Unfortunately the plot of the book is a crime and investigation of same (by Saxon) which are too slight to carry its 400 or so pages. Because of this The Blues Don’t Care is rather a baggy book, proceeding at a leisurely pace to a series of similar denouements.
You are most likely to enjoy this book if you prefer character-driven fiction. Saxon is a complex character and he is the heart of the book: everything else is there to give him something to do.
(Excerpt from a review originally prepared for 'Big Al & Pals'. Received a complimentary e-copy for that purpose.)
Unfortunately the plot of the book is a crime and investigation of same (by Saxon) which are too slight to carry its 400 or so pages. Because of this The Blues Don’t Care is rather a baggy book, proceeding at a leisurely pace to a series of similar denouements.
You are most likely to enjoy this book if you prefer character-driven fiction. Saxon is a complex character and he is the heart of the book: everything else is there to give him something to do.
(Excerpt from a review originally prepared for 'Big Al & Pals'. Received a complimentary e-copy for that purpose.)
June 5, 2020
This story was a breath of fresh air, set in a familiar period, thanks to Sunday afternoon TV movies. Which means the author had to get his world-building right. The good news is - he did, and did it very well indeed.
The story took me right back to Humphrey Bogart, Raymond Chandler, Casablanca and the noir films that I love so much. It is a story bursting with detail of the times, the language, the cars and the minutiae of life. The behaviour of the characters feels spot on. A lot of research has gone on here and the story benefits from it.
It starts in 1999, with a phone call to Bobby Saxon’s daughter. Her father is dead and when she goes to identify him, she meets one of his friends. He has a tale to tell about Bobby’s life in World War II Los Angeles.
Immediately, we are swept into the 1940s, with war in the background, segregation and animosity. Young Bobby is trying to get on in the world; a white boy, he gets a job in an all-black band, playing piano on a gambling ship moored off L.A. While he’s there, he gets caught up in a murder, then in trying to find out what really happened. Already there is tension, suspicion of his motives.
Bobby finds that trying to solve a murder is unlike anything he has ever had to do before. The police aren’t interested, as far as they are concerned they have a suitable suspect. There is no manual to tell you how to be a private detective, Bobby is making it up as he goes along.
The war is infused into every part of the story, the men are away, the women doing what they can to get by. There are all the essential elements for an engrossing read: good guys, bad guys, gangsters and crooked policemen, and through it all, an extremely well written sense of believable realism. As Bobby starts to investigate, answers lead to more questions. He assembles an unlikely band of helpers as the mystery deepens, and even finds that the part of him that he wants to remain hidden has a role to play in his investigation.
The action (and there is plenty of it) is well described and as tension mounts, the truth is revealed. This novel is not just a murder mystery, there is a lot of social commentary - and definitely a Discovered Diamond.
Reviewed for Discovering Diamonds
The story took me right back to Humphrey Bogart, Raymond Chandler, Casablanca and the noir films that I love so much. It is a story bursting with detail of the times, the language, the cars and the minutiae of life. The behaviour of the characters feels spot on. A lot of research has gone on here and the story benefits from it.
It starts in 1999, with a phone call to Bobby Saxon’s daughter. Her father is dead and when she goes to identify him, she meets one of his friends. He has a tale to tell about Bobby’s life in World War II Los Angeles.
Immediately, we are swept into the 1940s, with war in the background, segregation and animosity. Young Bobby is trying to get on in the world; a white boy, he gets a job in an all-black band, playing piano on a gambling ship moored off L.A. While he’s there, he gets caught up in a murder, then in trying to find out what really happened. Already there is tension, suspicion of his motives.
Bobby finds that trying to solve a murder is unlike anything he has ever had to do before. The police aren’t interested, as far as they are concerned they have a suitable suspect. There is no manual to tell you how to be a private detective, Bobby is making it up as he goes along.
The war is infused into every part of the story, the men are away, the women doing what they can to get by. There are all the essential elements for an engrossing read: good guys, bad guys, gangsters and crooked policemen, and through it all, an extremely well written sense of believable realism. As Bobby starts to investigate, answers lead to more questions. He assembles an unlikely band of helpers as the mystery deepens, and even finds that the part of him that he wants to remain hidden has a role to play in his investigation.
The action (and there is plenty of it) is well described and as tension mounts, the truth is revealed. This novel is not just a murder mystery, there is a lot of social commentary - and definitely a Discovered Diamond.
Reviewed for Discovering Diamonds
April 24, 2020
Filled with deceit, murder, and lust, 'The Blues Don't Care' is one historical fiction novel that will make you bite your nails until the very end. Finding solace in wearing men's clothing, Bobby is finally given the opportunity of a lifetime, playing the piano for a big black orchestra band in Los Angeles, however, this city is filled with more devils than angels. On the day of her debut, two white males fall from the rafters of the night club. It's 1942, and the world is at war, and the police are corrupt. The police pin the crime on one of Bobby's bandmates. Bobby doesn't want to work an original job, but to save this gig, she needs to find the real murder. However, playing detective is like playing Russian Roulette; secrets will be revealed, including Bobby's.
August 15, 2020
The Blues Don’t Care is a period piece mystery/crime thriller set in late World War II Los Angeles. Our protagonist Bobby Saxon is a white piano player in an African American jazz band. One night during a concert on a mob gambling ship off the California coast, a German man named Hans Dietrich is murdered and one of Bobby’s bandmates, James Christmas, is arrested for the crime. Nobody believes Christmas did it and bandleader Booker “Boom-Boom” Taylor sends Bobby to investigate, since being Caucasian, it is believed Bobby is better able to navigate the white worlds of both the police and mob. While a novice at the detective business, Bobby is a quick learner and the clues soon begin to add up. But what they add up to be is more shocking than Bobby, his allies Margaret Lane or Sam Wilde, or his bandmates ever anticipated.
The character of Bobby is very engaging. Author Paul D. Marks gives us a strong internal narrative to Bobby and we are privy to his considerable conflicts and inner doubts and happily cheer his eventual conquest of them. Bobby has a secret (which I will not reveal here) that adds considerable depth to the novel and also makes Bobby a character who is both of his time and also facing some very modern issues. Indeed, I can say with confidence Bobby is a protagonist you will not forget. Luckily for us readers, it seems he will have further adventures beyond The Blues Don’t Care (that’s not a spoiler as the novel is subtitled Bobby Saxon Book 1).
Marks clearly knows the WWII era and his love of Los Angeles and the period’s film and music scene pops off of every page. He slips in his history lessons with a deft touch and the cultural references are knowing and often humorous. If you loved James Ellroy’s L.A. Quartet, or any classic 40’s gumshoe stories, you’ll love The Blues Don’t Care. Best book I read in 2020.
The character of Bobby is very engaging. Author Paul D. Marks gives us a strong internal narrative to Bobby and we are privy to his considerable conflicts and inner doubts and happily cheer his eventual conquest of them. Bobby has a secret (which I will not reveal here) that adds considerable depth to the novel and also makes Bobby a character who is both of his time and also facing some very modern issues. Indeed, I can say with confidence Bobby is a protagonist you will not forget. Luckily for us readers, it seems he will have further adventures beyond The Blues Don’t Care (that’s not a spoiler as the novel is subtitled Bobby Saxon Book 1).
Marks clearly knows the WWII era and his love of Los Angeles and the period’s film and music scene pops off of every page. He slips in his history lessons with a deft touch and the cultural references are knowing and often humorous. If you loved James Ellroy’s L.A. Quartet, or any classic 40’s gumshoe stories, you’ll love The Blues Don’t Care. Best book I read in 2020.
July 19, 2020
HISTORICAL MYSTERY
SHAMUS WINNING AUTHOR
“Criminy, Booker. I’m no detective…
You want me to play Sam Spade?
Like in the movie
The Maltese Falcon?”
If you wanted to be a detective, returning to the 1940’s might be a good start. Or that is what Paul D. Marks and his character Bobby Saxon think. This is a highly recommended read for its historical significance in taking the reader back to the early 1940s.. Like watching one of those old black and white movies with the enriching characters and memorable lines. Set in Los Angeles makes the reading even more engaging for we who know the city and its history well. But don’t let your location put you off, this well-written novel will pull you in as if you, too, are a resident of both locale and history.
Reviewed in Le Coeur de l'Artiste: http://www.djadamson.com
SHAMUS WINNING AUTHOR
“Criminy, Booker. I’m no detective…
You want me to play Sam Spade?
Like in the movie
The Maltese Falcon?”
If you wanted to be a detective, returning to the 1940’s might be a good start. Or that is what Paul D. Marks and his character Bobby Saxon think. This is a highly recommended read for its historical significance in taking the reader back to the early 1940s.. Like watching one of those old black and white movies with the enriching characters and memorable lines. Set in Los Angeles makes the reading even more engaging for we who know the city and its history well. But don’t let your location put you off, this well-written novel will pull you in as if you, too, are a resident of both locale and history.
Reviewed in Le Coeur de l'Artiste: http://www.djadamson.com
August 30, 2020
I enjoyed this book. The main character must be based on the life of the real-life Bobby, Billy Tipton, who was a woman who lived as a man to play music. The book is well done and the mystery is well planned.
Bobby Saxon lives in a world that isn't quite ready for him. He's the only white musician in an otherwise all-black swing band at the famous Club Alabam in Los Angeles during World War II—and that isn't the only unique thing about him… And if that isn't enough to deal with, in order to get a permanent gig with the band Bobby must first solve a murder that one of the band members is falsely accused of in that racially prejudiced society.
This leads him to a world of danger and intrigue. He has to solve one mystery while still remaining a mystery to the people he knows. Very good book!
Bobby Saxon lives in a world that isn't quite ready for him. He's the only white musician in an otherwise all-black swing band at the famous Club Alabam in Los Angeles during World War II—and that isn't the only unique thing about him… And if that isn't enough to deal with, in order to get a permanent gig with the band Bobby must first solve a murder that one of the band members is falsely accused of in that racially prejudiced society.
This leads him to a world of danger and intrigue. He has to solve one mystery while still remaining a mystery to the people he knows. Very good book!
October 1, 2021
Crime-fiction characters often follow cliched routes, but Bobby Saxon walks a less-traveled path that makes pages turn quickly. Yes, this one is a long read, but hard to put down because of Bobby's unique perspective that draws the reader close and holds their attention. Moody settings and atmospheric locations lend vivid imagery to each chapter while period-correct langue adds a stylish flow to the dialog. At some points, it's easy to feel as if you're in the smoky bar with him, listening to frothy jazz and sipping an icy martini. No spoilers here, but the plot took gritty twists that led to a starkly satisfying ending. The epilogue nicely tied-up loose ends and created a need to read more of this author's work.
June 29, 2020
Added to my list of best books, which used to be 10 but has now grown to 20. A very enjoyable tale that takes place in Los Angeles of the 1940s. The book is well-researched historically and - even as a 45-year Angeleno - I learned things about my old neighborhood that I hadn’t known. The characters are engaging, especially hero Bobby Saxon. I was truly disappointed when the book came to an end. One thing about The Blues Don’t Care that most people will like is that many of Marks’ characters are disenfranchised and were especially so in the 1940s - blacks, jews, those struggling with sexual identity. I will read this book again.
August 12, 2020
Young white piano player Bobby Saxon just wants a job with Booker's all black band but when you add Bobby's secrets to the complication of a murder that he's told to solve, getting that job sounds mighty unlikely. Bobby is a rather inept detective but he learns fast. Sometimes his personal secrets get in the way of the mystery itself, but it's part of the charm of the main characters. The history, including racial tensions, are a bit overwhelming, but I think that's true to the setting and the times.
May 19, 2022
2.5 Set in LA during World War II, Marks’ story starts off in an interesting fashion, mirroring the film noir world of Hammett and others and mixing in the segregated world of jazz, corrupt cops, and more. I thought it had some interesting twists and surprises but it also bogged down a number of times, enough so that I kept putting it down to read something else. I did manage to finish it and he continued to have interesting parts but I think it would have read better if he had tightened the story and not tried to put everything that happened in that time period into one story.
July 23, 2020
If you enjoy jazz, the Great American Song Book, mysteries, and World War II stories, you’ll love this book. The setting is Los Angeles, and in Marks’ hands, LA becomes a vibrant character that shares the stage with pianist Bobby Saxon. Bobby is down and out, confused about his identity, and in desperate need of employment. He’s promised a permanent gig with LA’s hottest jazz band. Only there’s a catch. Bobby must first solve a murder.
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