photo Joe Parker / stylist Cyndie Boehm :: Clients and Listeners say :: "The music last night was so perfect for the speakeasy jazz sound. Thank you for such an enjoyable evening. Looking forward to hearing you again."   -- Ronnie Beck" "Loved your voice and ease of instrument sounds @ the Florida Folk Fest. I will be glad to hear you again. You were the star talent of the Festival for me. Keep playing. Best, Jan" "It is my favorite CD. You were my favorite person to meet at Gamble Rogers. I think you're just a musical genius."   -- Melanie Bischof on Japanese Bathhouse "Your band was so great! Just what we needed."   -- client on ZapStar Jazz Qtet, at Ponte Vedra Inn & Club "You'll always be one of my favorite singers. My wife and I will always remember your rendition of "Stay with you" by John Legend. She was surprised and I only wish I had a recording of your performance. I hope you are doing well and I hope that tons of people will get to enjoy your music as much as we do."   -- Kyo Freeman "I wandered around after my Florida Folk Festival gigs this weekend looking for diamonds among the coal, and you were the most brilliant of them all. Yes, your music wonderfully denies easy classification, but it is also witty, real, transcendent, and has great depth and musicality. It's far and away the best thing I've stumbled across there in a while. I'm going to make sure my daughter listens to this [CD] again, as she is now. It is so wonderful and real and ingenious without being gimmicky. I will be listening to your CD for a long time--there's so much there. Thank you for enriching the FFF, and thanks for giving me a few minutes of your time today."   -- Steve Hodges, Tallahassee, FL		:: reviews / press :: My Old Kentucky Blog Rebecca Zapen has been releasing music under the “Bashert” label since her 2003 debut. In Yiddish, bashert means soulmate, or perfect match. A few albums later, and Zapen’s not only built a nest with the perfect guy, but there’s a baby. Thence comes some of the inspiration for this cozy cabin (the kind with a fire crackling away in the grate) of sounds. The heavenly waltz of “Peace” is at the heart of Nest. It’s like Bashert’s a descendant of the Mary Hopkins (via Paul McCartney) and Sandy Denny lines of beautiful, oft-vintage-inspired sounds. There’s a sense of arcane, jazzy pop; fifties romanticism, classical music, and Yiddish and other folk traditions; a bowl of ingredients from which Zapen intuitively ladles the right elements for her evocative compositions. Zapen’s buttercream-smooth voice and classic treatments create cohesion in a set spiced by Celtic folk and Latin jazz. And while contemporary chanteuses are often compared with A.Camp, Zapen’s merging of melody, keys, and vocals are at the top of any such comparison heap with “Lakewood” and “You Did Me Wrong.” For an all-original (save a bossa-nova treatment of “Addicted to Love”) collection; Nest is something of a miracle. Years of playing and learning come together in a place where everything feels bashert. - Mary Leary In Tune Magazine - The Daily News Gives "Nest" 4 Stars! (Pittsburgh, PA) With her ukulele in tow, Rebecca Zapen has crafted one of 2011's more enjoyable folk albums in "Nest," a deeply personal gathering of tunes celebrating domestic bliss. From the delicate opening notes of "Beautiful Love Songs Without the Love" clear through to the final strains of "Colorado," Zapen hits it out of the park. The 13-track release includes 12 first-rate originals and a gentle cover of Robert Palmer's "Addicted to Love." Among the Zapen-penned entries, "Swamp," "Lakewood," "I'm Gonna Make So Many Things for You," "You Did Me Wrong" and "Grandfather's Song" are the winners. If you've not heard Zapen before, it's time to jump on the bandwagon. - JS Denouements The Owl Mag "...mellow pop songs that any heartbroken soul would enjoy." FLORIDA CD/ALBUM OF THE YEAR { Sept. 19, 2011 } Barely out of the starting gate, Zapen's newest album Nest garners high praise: "Nest is a beautifully recorded CD whose songs show the maturation and growth of one of Florida's most exciting recording artists and performers, Rebecca Zapen. Classically trained with a musical family history that obviously seems to help, Mrs. Zapen Douglass was, until recently, a regular on the Jacksonville, North Florida music scene, for what it is, and has since relocated down South to the Tampa/St. Petersburg area, where she quickly became a significant and favorite musical performer there. Nest is a deeply personal CD, pulling at your collar and tugging at your sleeves long after the first play. The music is wonderful and the lyrics are intelligent, sometimes funny and often times deeply moving. The concept of the CD revolves around Rebecca's first pregnancy and the birth of her son Joel Sebastian Zapen Douglass. Many of the songs reflect this theme including “I'm Gonna Make So Many Things For You,” “Tiny And Strong,” “888,” (written on August 8th, 2008), the very beautiful “Peace,” and finally “Jacaranda,” which says simply, /...With a cat and a dog and most of all a man who loves me so, Sitting here in our nest, waiting for this little egg to grow. I never knew how much my life could change in one short year, And I'm so glad I'm here./" [read full article] ~ Ron Johnson / Florida Times-Union HOME IS WHERE THE HEART IS { Sept. 20, 2011 } Rebecca Zapen celebrates domestic bliss with her latest release "Nest" "While some musicians spend a lifetime avoiding responsibilities and domestic duties as if they were sunlight or sobriety, classically trained violinist, singer-songwriter and ukulele-shredder Rebecca Zapen has taken the art of settling down to new heights with her latest album, the aptly titled 'Nest'. Zapen's marriage to fellow musician, keyboardist and recording engineer Jeremy Douglass, and the birth of son Joel, now 22 months old, are the inspirations behind "Nest," an ipressive 13-track collection with highlighs like the ethereal "Peace," the klezmer-waltz of "Grandfather's Song," the haunting Appalachian-drone of "Colorado" and even a sharp bossa nova reading of Robert Palmer's "Addicted to Love." [read full article as PDF] ~ Dan Brown / Folio Weekly CREATIVE LOAFING "Zapen is a multi-award winning singer-songwriter with a vocal range that allows her to go from a jazz-sultry croon to a dreamy, honey-sweet cry, and a classically-trained violinist who also plays ukulele and guitar. She infuses her sound with elements of acoustic folk, Americana, and gypsy jazz, and brings a warm swinging feel to her pretty melodies." RELIX "Nothing adequately prepares for the way in which her deeply personal album instantaneously envelops and never loses its grip.... The title song and others bring to mind no less than early solo McCartney and Brian Wilson's SMiLE.... One of those near-perfect hidden gems..." TAPE OP "This one falls firmly into the "wow, this is really well (self) produced and (self) recorded at home category.' ... I suspect that the old adage that good sounding music is easy to record is also part of why this sounds so good. Zapen not only writes great songs and sings them well, but she also has real arrangement talents and plays a variety of instruments. " PERFORMING SONGWRITER (DIY Top 12 Picks) "Rebecca Zapen could easily be the long-lost love child of Astrud Gilberto and that side of Pink Floyd we glimpsed in “San Tropez.” On her latest release, Zapen will lure you with sleepy, laid-back vocals and creative instrumentation. ...Overall, Japanese Bathhouse sails delightfully along between the waters of pop and jazz, with gentle breezes and soft ocean sighs to soothe you on the way.. " LIVE @ THE WHISTLE STOP { March 9, 2009 } It was an absolute pleasure to watch your performance yesterday. Nicole and I were completely blown away with your style, stage presence and overall performance. You have a beautiful voice and great skill on the instruments that you played, that took a strong hold on our attention through yesterday’s show and into today, as we listen to the CDs we purchased yesterday. We thought your impromptu with Emilia was just incredible. We were shocked when we learned that you had never performed together, let alone, even met. Wow, that is impressive. We are big music lovers and try to support as many independent artists as we can. As such, we frequent small establishments like the Whistle Stop and others in the area that help support singers, songwriters and other performers. We have never been so impacted and touched by an artist, despite the countless shows we have attended. You are really amazing and we are both so happy to have gotten the chance to see you yesterday. ~ Jessica & Nicole TASTY "...The whole album exudes a nod to the past, deploying sea shanties, nursery rhyme xylophone and country fair accordion. Then just when you think you have finally got inside Zapen's head she throws out a sophisticated lounge bar number in the form of 'Dolores'." GIGWISE "...Zapen sings with a slow beauty reminiscent of the legendary Chet Baker, making a drowsy folk tune telling the standard tale of a doomed love affair a stand out song. Filling simple lyrics with pure emotion." NeuFutur "...timeless, genreless songs that will impress everyone, regardless of musical leaning. " eJazzNews "This is a debut that is already assured without swaggering, full of thoughtful and subtly emotive music which is the product of a discriminating set of players led by a singer who is clearly one to watch for." FOLIO WEEKLY { Oct 18, 2005 } PIRATE RADIO God only knows how many albums have kicked off with love songs. Jacksonville songwriter REBECCA ZAPEN's latest, "Japnese Bathhouse," does just that, but thankfully the object of her love is more interesting than an ordinary human. She's in love with a Lego pirate. Zapen picked up the little swashbuckler at an estate sale in Chicago, and details their whimsical relationship in "We Didn't Bother" The classically trained violinist says she planned to write the whole album about her lover with articulated limbs, but one must assume he proved to be lacking in certain areas. The record goes on to explore other topics. Through airy, Sean Lennonish melodies that threaten to sing you to sleep (in a good way), Zapen wonders if God is speaking to her through Dolores, sing chatty Pottery Barn phone operator that gave her timely love advice. She pays tribute to the trusty bottle and celebrates her oneness with foreign women while naked in a Japanese bathhouse, despite being, let's say, bigger-boned. The arrangements are at once sparse and lush, with swirling strings, waltzy chorded organ lines, jazzy classical guitars, and delicate touches form melodicas and glockenspiels. Minute-long instrumental interludes that would be at home on the "Amelie" soundtrack help carry the album. The tunes alternately -- and authentically -- embrace styles from ragtime to bossa nova, vibes from Brazilian to Parisian, thanks to contributions from local upright bassist Chelsea Chason, guitarist Chris Estes and Jacksonville Symphony Orchestra cellist Betsy Federaman. Zapen's lyrics are far from visionary -- no mind-boggling metaphors or incendiary, political diatribes -- but you get the feeling that they're not supposed to be. Instead, the words create vivid images and pose simple questions to lovers past and present. But take whatever you want from the songs, Zapen says. Feel free to adapt lyrics about Lego figures to flesh-and-blood love interests. Zapen releases "Japanese Bathhouse" at 6 p.m. on Thursday, Oct. 27 at the Jacksonville Museum of Modern Art in downtown Jacksonville. ~ Owen Holmes NOBLESVILLE DAILY TIMES { May 2008 } BLUESTONE DRAWS NATIONAL ARTIST Rebecca Zapen is on the go. A singer, songwriter and multi-instrumentalist, the Florida native was traveling Chicago by road Monday evening on her way to a show leading up to her first performance ever in Indiana Wednesday night at Noble Coffee and Tea Co., 933 Logan Street in Noblesville. Following a successful showing over the weekend at the Florida Folk Festival, Zapen talked about her music, connecting with an audience and her upcoming Noblesville show. [read more] PERFORMING SONGWRITER { Dec 2006 } DIY Top 12 Picks Rebecca Zapen Japanese Bathhouse Featured Download: "Smile." MP3 Rebecca Zapen could easily be the long-lost love child of Astrud Gilberto and that side of Pink Floyd we glimpsed in "San Tropez". On her latest release, Zapen will lure you with sleepy, laid-back vocals and creative instrumentation. "We Didn't Bother" finds Zapen combining melodica and trombone with 3/4 time while reminiscing that "Our days on the island were the best of our lives". Seagulls and ocean sounds close the track. "Smile" features ukulele, trumpet and percussion provided by a tap dancer. Vocals are shared by Christopher Estes, and they banter back and forth delightfully. The title track is deliciously understated -- a '30s-style swing tune featuring trumpet, clarinet and cute lyrics about having bigger boobs and being hairier than the other bathhouse attendants. Overall, Japanese Bathhouse sails delightfully along between the waters of pop and jazz, with gentle breezes and soft ocean sighs to soothe you on the way. ~ Mare Wakefield RELIX { Feb/Mar 2006 } Rebecca Zapen's classical/jazz resumé gives little indication of what the continually seductive Japanese Bathhouse ultimately reveals: Nothing adequately prepares for the way in which her deeply personal album, the Floridian Zapen's second, instantaneously envelops and never loses its grip. The comfy melodicism of the opening track, "We Didn't Bother," the title song and others brings to mind no less than early solo McCartney and Brian Wilson's SMiLE, while the ukulele/glockenspiel-sparked quietude of "I've Been Dreaming" and the folksy "I Am Fine" are imbued with a welcoming warmth. The word nostalgia is often applied to Zapen's work, but Japanese Bathhouse doesn't so much reminisce as remind. It's one of those near-perfect hidden gems that all too few will hear, but so many would love if they did. ~ Jeff Tamarkin TAPE OP MAGAZINE { Nov/Dec 2005 } This one falls firmly into the 'wow, this is really well (self) produced and (self) recorded at home category.' Listening to this, I would never have guessed this was a home recording, as it sounds super pro, thanks in part to musical and engineering [partner] Christopher Estes. But, I suspect that the old adage that good sounding music is easy to record is also part of why this sounds so good. Zapen not only writes great songs and sings them well, but she also has real arrrangement talents and plays a variety of instruments. The CD has nice packaging to boot. When asked about the recording, Rebecca responds, "As far as the way Chris and I worked together, I must say he has much more engineering experience than I do. We met in 2002 when he recorded my first album, Hummingbird, which is more jazz-oriented." Chris adds, "We recorded it in the house, with vocals done in a carpeted bedroom. We used a lot of dynamic mics for the instruments, with a few condensers (like my big MXL, and Rebecca's AKG). Everything was recorded and mixed using Sony Vegas Video, with Waves plug-ins. We recorded most of the songs as basic tracks with bass, drums, and guitar. Then we added everything else by sections with overdubs. Rebecca doubled and tripled some parts such as violin on a few numbers. The main room we recorded in is a large rectangle with hardwood floors. We used an ART tube preamp and Rebecca's Soundcraft E6 Spirit board for tracking. I used just a few mics at any given time to keep things uncluttered and the phase in line. Not much EQ was used in tracking. I tried to make this album sound as natural as possible. Not much was used as far as compression, EQ and effects. I also tried to be as light on the reverb as possible. Rebecca picks up the thread, "Later, for an EP I recorded, he showed me how to do some mic placement and basic use of Vegas Video. As far as my role in recording this album, I recorded 3 of the songs myself, and also did some additional overdubbing on my own, sometimes layering as many as nine violin tracks -- violin is my first instrument, but I played guitar, ukulele, Magnus chord organ, glockenspiel, melodica, kazoo, and of course sang, on the album. For the song Smile, we had never recorded a tap dancer before but the floor was hardwood so that was convenient. I squatted in front of her with two Shure 57s held at 90 degrees, holding the mic cords and her headset cord in my hands and teeth so nothing would rattle against the floor as she tapped. Also, double bassist Chelsea Chason twisting her endpin against the floor created the creaking sound at the end of We Didn't Bother. We thought it sounded like the rocking of a pirate ship, and added ocean and seagull sounds to enhance the effect. I completed my part of the process with the tracks' volumes and panning set to some extent, but I preferred to leave the real mixing to Chris. In addition to recording, mixing and mastering, Chris played on several of the songs, on trombone, guitar, glockenspiel, and he sang as well. The environments varied. Three of the tracks were recorded in my old house, in a boxy living room with hardwood floors. One song, "Shower #2", was recorded in a professional studio we used to record the soundtrack for a short film for which I wrote the music. The rest of the tracks were recorded in Chris' living room (which was a boxy room with a carpeted floor which later became hardwood) and a carpeted bedroom for vocals. I had instrumentation ranging from quite sparse to quite lush, and also ended up using four different drummers. So, in the end, Chris had to take tracks that had been recorded in essentially four different environments, with a varying roster of musicians and create consistency." Finally, Mr. Estes also mastered the disc at home using SoundForge. ~ John Baccigaluppi CELEBRITY CAFE / CD INSIGHT { Nov 2005 } The past always affects the future. This is especially true with Rebecca’s CD "Japanese Bathhouse," which turned out to be a collection of the old and new. Rebecca performed with groups whose style included everything from jazz to classical to swing to rock. Her eclectic background is present in her creative CD which includes every style possible. A little taste of the past, mixed with that elevator music that you find yourself humming along with, is the best way to describe this CD. I caught notes of my grandfather’s music and even a tap number or two mixed into the background of “Smile.” Mellow, creative, happy, and smart; this CD reaches out to every demographic and is pure genius. ~ Margo Strupeck SUBBA-CULTCHA { Oct 2005 } This album is an absolute dream, from the very first note to the very last second; every idiosyncrasy and personal quirk flourishes within the most sublime melodies and infectiously charming lyrics. The opening track is a bitter-sweet ode to a fleeting, and ultimately doomed, romance with a Lego pirate. Dreamy, ethereal, (think early Lush) Zapen’s vocals swoon and sweep, instantly hypnotic and effortlessly charming, it sets the mood for the rest of the album. The second track, ‘Smile’ is one of the many highlights of the album, a gorgeous folk pop duet with Christopher Estes. An unusual ukulele love song that name checks Jacques Cousteau and Florence Nightingale, and also features tap dancing interludes. It is its simplicity and happy-go-lucky feel that makes it instantly accessible and really demonstrates the ease of Zapen’s talent and originality. The style and arrangement of ‘Dolores’, has a sound not dissimilar to The Cardigans’ ‘Life’. That laid back European lazy summer afternoon atmosphere, but with a hint of melancholy waiting beneath the surface. The title track ‘Japanese Bathhouse’ has that Woody Allen vibe; musically it’s mix of clarinet and swing, and lyrically, it’s been a while since ‘thee’ and ‘ha-cha-cha’ were used in a contemporary pop song. The track itself is an affectionate and comical take on being naked with a bunch of strangers, light and breezy, always seeing the funny side. Its not all fun and joy though, ‘Miss You’ and ‘I Am Fine’ are twinged with sadness and sorrow, and although there is an air of sadness in the lyrics, the songs are never depressing as the musical accompaniments and vocals arrangements are so transcendent. The album also features three instrumental tracks; they are the kind of songs that would instantly feel at home on the soundtrack to a Wes Anderson film. They make curious little interludes and exemplify the extent Zapen’s musical talent. Of course this album won’t be to everyone’s taste, but for those of you (like me) enjoy intricate little folk pop songs about unconventional situations, and the soundtracks to Wes Anderson, I warmly recommend this gem of an album. ~ Helen Sadler TASTY { Aug 2005 } Oooh, we like this. Title track 'We Didn't Bother' exudes indifference in a soporific folky haze. And even better, it's about a love affair gone wrong with a Lego pirate! Zapen may sound a few bolts short of a meccano set but from this individual outlook on life a string of unique songs has arisen. 'Smile' sounds like some 1930's picture house soundtrack and I swear it is the only example of a tap dancing break in the middle of a song that I have ever heard. The whole album exudes a nod to the past, deploying sea shanties, nursery rhyme xylophone and country fair accordion. Then just when you think you have finally got inside Zapen's head she throws out a sophisticated lounge bar number in the form of 'Dolores'. Exquisite mandolin and other finger-picked strings are the mainstay accompaniment to Zapen's dreamy voice. Both beguiling and arresting at will, the vocals lubricate the more challenging changes in key and left field style. A real find. ~ SB GIGWISE { Sept 2005 } Thanks god that Rebecca Zapen's style and songs are fresh. She provides a welcome change from all the wannabe Norah Jones' out there and easy listening faux jazz currently in fashion by instead creating an album infused with real emotion. On 'We Didn't Bother', the opening track on 'Japanese Bathhouse', Zapen sings with a slow beauty reminiscent of the legendary Chet Baker, making a drowsy folk tune telling the standard tale of a doomed love affair a stand out song. Filling simple lyrics with pure emotion, something that Chet Baker did so well, Zapen achieves sincerity , the fact that the song is about a lego pirate is testament to Zapen's quirky humour. Zapen uses this sort of humour to break up the more serious tunes, playing with traditional styles of music and adding a modern twist with her light hearted lyrics. Most notably on, 'Smile', a swing style duet with [Chris Estes] that possesses a feel good kitsch and title track, 'Japanese Bathhouse', on which Zapen recounts being surrounded by naked Japanese women. Zapen plays with traditional styles of music and adds a modern twist with her light hearted lyrics. A trickling guitar accompanies her beautiful voice on 'Some Things Take Time', to create another resounding success. Several instrumentals introduce a variety of styles and also serve to break up the more serious tracks. And, it is in the lyrics and emotion of tracks like, 'I Am Fine', where Zapen sings of "planning one's own funeral" and, 'Woe Is We', where she laments,"I was only born with one heart," that Zapen's voice really stands out, shining light onto these darker lyrics. A consistent trickle of sound holds the differing tracks on this album together; lulling you into a happy state of mind so you can lie back and listen to Zapen's memorable voice. ~ Gareth Rees JUMPER { Sept 2005 } -- interview excerpt: Can you tell us about your life in a few lines? What are the most important steps in your growth as a musician? I was born into a musical family whose instruments/skills include: accordion, violin, viola, contrabass, conductor, guitar, piano. I am the third generation making a living as a musician. Growing up, I studied violin and dance, and academics were very important to me. I went to college on a music scholarship, but my musical family wanted to save me the inevitable pain and suffering of being a musician, and encouraged me to go into a more practical field. I was pre-med and actually got as far as making the waiting list for a med school in Florida. After finishing school, I was kind of lost for a while, doing various jobs as a secretary, book clerk, then web developer. I gradually started doing more music gigs on the nights and weekends to the point that I stopped working for "the man". I am so glad I made the brave leap to the life of a musician. There are many struggles and sacrifices in choosing this path, but also great love and reward.   [full article] ~ Francesca Baldassarri EJAZZNEWS { Oct 2004 } Sometimes a cd arrives without a blaze of publicity material and extracted review quotations to support its existence. Such is the case with this one and, lacking any glowing opinions about its excellence, it has simply inveigled its way quietly into my consciousness. After one listen I simply put it back on and listened once more. I’m doing it again at this moment. New to me, Zapen is a singer and violinist whose appeal lies in her understatement, avoiding the temptation to force herself and her music on the listener. I was briefly reminded of Nick Drake’s vocal delivery, accents aside, in that she seems to whisper rather than bellow and therefore allows the words to reach the audience without forcing emotion out of them. Her voice isn’t fragile but there is delicacy about her phrasing that sets her aside. The repertoire she’s chosen mixes the well worn with her own compositions and all are touched by the control and restraint exhibited by herself and a band of extremely sympathetic musicians. Among the standards she revives the tender sentiments displayed in ‘Someone To Watch Over Me’, a tune which I’ll always associate with Ella Fitzgerald. She doesn’t try to emulate that definitive reading but with the gentlest of backings from Gary Starling on guitar and Darren Ronan’s sensitive percussion she projects the yearning lyric flawlessly. Her brief violin solo is also succinct and lyrical. Similarly, the take on ‘I Fall In Love Too Easily’ is an exemplary vehicle for her voice and violin, both exploring the bitter-sweetness of the melody and words. To this add the lightness of touch brought to bear by tenor sax man John Ricci, who seems to blend some of the best qualities of Webster and Young in his voicings. Standards aside, her own compositions show a well developed ear for a memorable tune, sometimes redolent of other classic songs without any hint of ‘borrowing’. She seems to have a natural flair for the uncomplicated line that stays in the mind. Try ‘Andrea’ with its cool Latin atmosphere, making the most of guitar, her own warmly expressive violin and some more of Ricci’s exquisite lyricism. This is a debut that is already assured without swaggering, full of thoughtful and subtly emotive music which is the product of a discriminating set of players led by a singer who is clearly one to watch for.  (on debut solo album, Hummingbird) ~ Paul Donnelly FOLIO WEEKLY { Sept 2003 } Zapen's voice and violin intertwine and compliment one another gracefully. The songs are somewhat reminiscent of Astrud Gilberto, with tone and melody that at times imply a breezy tropic isle, and at others suggest a New York City rooftop strung with paper lanterns. When the musicians hit their mark, they are capable of transporting listeners beyond sound.  (on debut solo album, Hummingbird)  [full article] ~ Flora Fair ENTERTAINING U { Sept 2004 } On the title cut, Hummingbird, Rebecca’s voice wraps around the listener’s heart -- its moody tone sends one’s spirit aloft, separated from the body and floating into another realm... The combination of [her] violin’s plaintive voice and her subtle vocals take one on a spiritual journey... ~ Rick Grant FIRST COAST COMMUNITY { April 2002 } Her soulful violin playing moves in and out of ... songs, interacting with the other instruments giving the music a haunting, spiritual feel that is at times, hypnotic and most certainly takes the listener to another place. Her vocal style is mesmerizing, ranging from coquettish innocence on 'Undecided' to downright seductiveness on 'Whatever Lola Wants'.  [full article] ~ Ron Johnson [submit a review]