Thrillpeddlers in Pearls Over Shanghai – 2009 Orig cast. / photo by Daniel Nicoletta
I remember when I first went to see Thrillpeddlers at The Hypnodrome, I had a tough time deciding between the Shock Box seats and the Turkish Lounge. Did I want the romance of being in our own little two-person cubby with extra effects or the comfort of lounging on carpets to watch the show? I went with the Shock Box, laughing when suddenly air squirted on to me, tempted to close the curtain and contain my date and I. I had only been living in the city a little while at this time and I fell in love daily with all of the quirks of San Francisco; this theater was one of those falling-in-love things.
But alas, San Francisco is a city of transience, and we are in a time of flux. Thrillpeddlers just announced that they’re losing their home at The Hypnodrome. Their future is unclear at this time. And folks who want the chance to have that unique quintessential San Francisco experience with them there, or who have been to the theater in the past and want one last blast for nostalgia, only have a few more opportunities to see shows there before the end-of-February closing.
First up: Naked Dudes Reading Lovecraft
“Marvel at some of San Francisco’s finest avant-garde actors and actresses, reading excerpts from H.P. Lovecraft’s finest works while displaying 100% visible sexy bits!”
Amazon Apocalypse, “Scrumbly Koldewyn’s new musical tour of Brazil and all things Samba! It’s part Fellini, part Antonio Carlos Jobim and always part Thrillpeddlers realness” was slated to run Feb. 23 – April 15, 2017. With the sudden news of the theatre’s closure, Amazon Apocalypse will be presented as a semi-staged concert for 3 nights.
Feb 9-11, 8 pm.
And Finally: Farewell to the Hypnodrome
“Bid adieu to our beloved theatre with custom made variety acts and song in this Valentine’s Day benefit final performance.”
Valentine’s Day, 7 and 9 pm
Get Your Souvenirs
There will also be a rummage sale on The Hypnodrome on 2/25-25 from 12-5 each day, where you can get good prices on set pieces, costumes, props, books, odds and ends.
It’s hard to say what’s next for Thrillpeddlers at this juncture. In addition to Amazon Apocalypse, they had already scheduled a revival of rock musical Cybererotica for a late spring run so they have projects, just no space. The sales from these last shows and the rummage sale will assist them in relocating. In this time of difficult rental space, who knows where they will go.
But the Thrillpeddlers have moved before. They launched in 1991 and didn’t move into The Hypnodrome until 2004. At that time, they only expected to be able to stay two years, so it was completely unexpected that the move didn’t happen until now. Artistic director Russell Blackwood shared in a statement,
“In October 2016 I celebrated the 25th anniversary of directing my first Grand Guignol horror one-act play, The Laboratory of Hallucinations upstairs at 30 Rose St. across from Zuni Café. Right off the bat I knew that San Francisco would provide a singularly ideal home for this theatrical genre.
After several years of sporadic producing, including the American Premiere of Clive Barker’s Frankenstein in Love at the Bindlestiff on Howard St. in SF, Thrillpeddlers co-founder Daniel Zilber and I produced the first of 17 Shocktoberfests, a full-length bill of one-act Grand Guignol plays, sex farces and fetish variety acts. After those first three annual Shocktoberfest!!productions at The EXIT Theatre and one at The Odeon Bar, the future of our cash-strapped itinerant company was unclear.”
And of course, as Peter Lawrence Kane wrote over at SF Weekly, “have been a spiritual successor to the famed Cockettes” who first performed in North Beach and at one time took their act all the way to New York City. So it is likely that in some form the show will go on … we will just have to wait and see how that turns out. That said, it’ll never be quite the same as seeing Thrillpeddlers at Hyponodrome so take the last opportunity if you can!
Carly Ozard is a cabaret singer originally from the Bay Area who is returning her for a one-night only performance of her new show, MORE SHIFT HAPPENS, on August 18th at Feinstein’s at the Nikko. Learn more about Carly and the show from this advance interview!
How does it feel to be returning to SF for this show?
First of all, thank you so much for granting me this wonderful interview. It feels very welcoming!! I’m really excited to be coming home to the Bay because this collaboration is going to be one of the best we’ve ever had. We have Musical Director Rick Jensen and me from NYC, Drummer Brandon Walters and Guitarist Terrence Brewer and back-up vocalist Jennifer Haber all from San Francisco, and back-up singer Francesca Camus from Las Vegas all on one stage!!!
Is being back bringing up any fond memories?
My favorite memories about singing in San Francisco are usually with the Richmond Ermet AID Foundation. It’s always such a great evening for a fantastic cause and Ken Henderson and Joe Seilor (the show’s producers) are the best. I also loved working with Russell Blackwood and Scrumbly Koldewyn in the Thrillpeddler’s last season in the Untamed Stage (2016) and want to come back and do a role for them again, like, yesterday.
What are some of the things you’re making sure to see/do/enjoy while you’re here?
While home I’ll frequent Martuni’s and any solo shows or musical theatre productions that I can see as well as score a brunch at Café Klaus!
Awesome choices! There are a lot of local “cabaret” groups and singers … what does this term mean to you? How does it fit your identity as a musical performer?
Truly, I think it’s fantastic. We can always be inspired by people and check out what others are creating. I’m inspired lately by Kat Robichaud’s Misfit Cabaret, and anything that Joe Wicht is involved in is always going to be top notch talent. The Cabaret Showcase Showdown is a wonderful breeding ground for local talent. Oasis has unbelievable projects going on all the time! People are challenging themselves and I think it’s fabulous.
My identity onstage is always evolving (as it is offstage as well); I learn, I grow, and I make mistakes. I learn from them, and build in a different direction. There’s so many more bells and whistles that performers are encouraged to pursue. It’s no longer a singer on a stage with a piano. You need a band. You might need video projections or a costume change, a small set…. Or in NYC, sometimes a theremin.
Yes! Your work is a blend of many things! Mostly, it seems to be a blend of music, comedy and confessional. What can you tell us about the process of writing More Shift Happens?
My director Kristine Zbornik and I took a lot of self deprecation out and made the first half of the show more of what I call My Own Personal Chorus Line experience. I’m not a dancer – but I am a vocalist who has built a new instrument since moving to NY, and with it, I’ve been able to launch myself towards opportunities that my old singing voice wouldn’t have gotten me. I’ve been in the room where it happens, so to speak…. For Broadway and National Tour Casting, and it’s SCARY. I also think it’s important to enlighten your audience and share with them about the process of graduating from nightclub personality to actress, singer, taking on scripted roles for the first time. That’s the first half of the show. The second half takes us through some travels I experienced as a working performer for the first time. There are wonderful stories, some really tough ones, some that shake you up, and some that reveal some good juicy NY stories. I’m really looking forward to it!
Sounds so exciting! So it sounds like your work/ voice changed in the past decade since you launched?
I left San Francisco with a pulled larynx, and atrophied muscles around my chords. I was taken on by Bill Schuman who trains mostly opera singers, and we built a whole new voice. I can belt a high A now comfortably, which has gotten me callbacks for really big projects. I’m in the process of becoming a real honest to God dramatic soprano.
In terms of other changes, the terror I used to experience onstage hoping I would make it through the evening doesn’t happen anymore. The fear has subsided and now I actually can be present onstage and focus on my craft. Acting is hard. I had never been trained. I think a lot of people assumed I knew things when I never really did. When I lost my voice, I lost my identity. When I got my instrument back, it taught me to be grateful for something.
Also, Teachers. If you can’t find the teachers who have your back, KEEP GOING until the best ones find you, and then there it all will be for you….. the right time to learn and the best time to go forward in your next personal steps of growth.
Lastly, NEVER APOLOGIZE. I used to apologize for myself. I used to be insecure with what I brought to the table, and I used to pull an imaginary chair up onstage with me for all my baggage and self hatred. I’ve learned from some pretty blunt and honest influences while living in NY that it’s not helpful and really stunts your growth as well as shuts people out. NEVER APOLOGIZE for who you are onstage today. Accept who you are today, and do your JOB.
Well said. Hard to accomplish but so important. Wonderful! Changing subjects a bit, what is your preferred method of listening to music (other than live)?
I’m LITERALLY blasting my Spotify right now. I will soon be available for streaming, showcasing some great covers with the incredible San Francisco based Ben Prince as well as with EDM engineer Leo Frappier. Also… living in Washington Heights now, I’m blocks from Central Harlem where the best reggae is blasted on the streets and I walk blocks with my Shazam on automatic and get all my favorite beats and get lost in those selections. I love dance and reggae.
What a great experience! What else have you been listening to a lot lately?
Right now, I’m really into some Electric Dance Music like Kaskade- they’re fantastic to listen to, and I love Aloe Blacc, Avicii, Armin Van Buuren, and Local Drag Phenomenon Pollo Del Mar turned me onto Zoe Badwi. I also flood my playlists with a lot of Burning Spear, Bob Marley and the Wailers and underground reggae artists who I discover left and right now that I live near Harlem. OH AND PAROV STELAR. Have you heard his music???? It’s like…. Swing Techno. It’s my FAVORITE THING to blast when I’m getting ready for some Burning Man or Drag Event that needs a costume. I’m also becoming more familiar with Country Music. I’m really into Reba, Carrie Underwood, and of course following my favorite show Nashville. I’m also really getting into Aretha Franklin. I’ve been singing a lot of her hits with a huge band at the Friar’s Club here in NYC.
What a terrific collection of different influences. … More Shift Happens includes back up singers, directors and musicians … how do you approach collaboration with other creative people?
I’m so excited that Francesca Camus is joining us. She’s really a solo artist but I’m so grateful to work with her again. We went to college together and she is another one who has built her voice up to be a MACHINE. Jenn Haber besides being my bff is always the most professional backup singer and she gets it DONE. Both girls know how to SING. How I approach collaborations is with a lot of drop box and voice memo recordings, lol. We get parts plunked and sheet music pdf’d, and then I pay everyone everything. Rick Jensen is one of the most seasoned professionals in the business and he used to play at the Plush Room at the York Hotel with the infamous late Nancy LaMott so I am honored to have him in the music director seat. Terrence Brewer is a notorious guitarist in the Bay Area, so it’s really a gift to have him onstage with me. Brandon Walker and I haven’t met yet but I hear awesome things about his drumming skills.
Fabulous. It’s so great how the various technologies available to us today can be used to make so many things come to life. What is something you want us to know about More Shift Happens before we go see it?
This is one of the hardest shows I’ve ever done. I’m taking you to Broadway. I’m taking you to Nashville, Puerto Vallarta, San Francisco, back to NY all on one planet, while simultaneously acknowledging huge life-altering circumstances that come to shake us all up. It’s really a more universal project than it is about me me me. Come relate, enjoy and be entertained.
So just to start I’ll explain that the film is about one specific survivor’s experience of The Killing Fields, a period of systematic torture and genocide that the Khmer Rouge inflicted about the Cambodian people in the late 1970s. The story of The Killing Fields came to the attention of many Westerners in the early 1980s when a film of the same name was released. Others learned about it more recently from the news; in 2009 the Khmer Rouge Tribunal began to investigate the crimes against humanity that occurred during this horrific time.
Dr. Haing S. Gnor
Dr. Haing S. Gnor was a doctor in Cambodia who was a victim of The Killing Fields. He was tortured, he lost most of his family, and his wife died in his arms when she was seven months pregnant with their child due at least in part to the starvation they were going forced to endure. He escaped with his niece and came to America.
Through a series of circumstances, he was asked to become an actor in the film The Killing Fields. He hadn’t intended to become an actor – a career that isn’t a high-status career in Cambodia. However, he was able to share his story and the story of his homeland through this work. He won an Academy Award for the role and went on to do many, many speaking engagements to educate people about his story and about what was going on in Cambodia.
What many people who saw The Killing Fields original film didn’t realize is that there was no happy ending. The Khmer Rouge was ousted but that was followed by Vietnamese control. Death, devastation and the effects of the entire situation continued after the Khmer Rouge fell apart. Dr. Haing S. Gnor educated others about this.
In 1996, Dr. Gnor was murdered outside of his Chinatown, Los Angeles home. He had continued to live there despite his financial success, in large part because he was involved in helping the community living in the area. Gang members were convicted of his murder, which reportedly was a robbery gone wrong, but there remains some suspicion to this day that Gnor was really killed because of his activist efforts to speak out about what was happening in Cambodia.
This film depicts the entire story. It shares Gnor’s story as part of a larger story to continue educating people about The Killing Fields and the impact of the entire experience on the Cambodian people. One of the things that we learned was the Cambodian word “kum“, which describes a particular mindset of the Cambodia people. Dr. Gnor wrote in his autobiography:
“Kum is a Cambodian word for a particularly Cambodian mentality of revenge – to be precise, a long-standing grudge leading to revenge much more damaging than the original injury. If I hit you with my fist and you wait five years and then shoot me in the back one dark night, that is kum . . . Cambodians know all about kum. It is the infection that grows on our national soul.”
The film is based on the autobiography and there is narration directly from the book. The film also incorporates archival footage from the era, some of which was documented by the Khmer Rouge for propaganda, film footage including footage from The Killing Fields, and modern footage of Dr. Gnor’s niece and a smily friend going through his possessions. Additionally, animation is incorporated geniously into the film. Some of the darkest scenes are done in animation, and this makes it possible to watch them while still retaining dramatic effect. It was a smart choice by the filmmaker.
Filmmaker Arthur Dong
Arthur Dong is an award-winning documentary filmmaker, and it was great to have him there for the Q&A last night, because he was able to provide additional insight into the making of the film. He shared that he actually hadn’t known much about Cambodia before beginning this film. I hadn’t known much about this region at all, and I had never seen The Killing Fields, so it was somewhat of a relief to hear that he also hadn’t known much, even though that’s also a tragedy. In any case, he had read the story and was so moved by it. He believed it would make a great film and he wanted to use his story telling capabilities to share this story.
I was really touched that he also shared that he had some residual cultural guilt that motivated his interest in making this film. He is Chinese American, and he shared that during the late 1970s there was a big movement towards embracing the pride in this culture, a movement that was prevalent here in San Francisco where he lived, and a movement that he was a part of. He went to China in 1978 for a visit, as one of the first tourists allowed in without a guide. He had no idea of the Chinese involvement in what was happening in Cambodia at this exact same time. He didn’t learn about this until he learned Dr. Haing S. Gnor’s story, and as he has shown the film around, he has learned that many, many other Chinese nationals do not know about this. He wanted to share the story to help heal the global world.
Researcher and Filmmaker Asiroh Cham
The Q&A also included Asiroh Cham, the researcher who really did all of the groundwork to make this film happen. She shared some terrific background information about the process, such as how the archival footage needed to be tracked down. She also shared a bit of her personal story, with parents who had survived the Khmer Rouge, and how the Dr. Gnor’s story hit home for her as she worked on this film.
Arthur Dong shared that as a filmmaker, these types of film festivals can sometimes start to all feel alike. He travels from city to city and while he’s grateful for the opportunity to screen his work, he doesn’t always get the opportunity to see what other people are doing because of the nature of participating in so many film festivals. He also shared that as soon as he looked at the lineup for this film festival, he knew that he needed to take full advantage of the opportunity to see what was here; he had just seen Chanthaly before his film aired. He shared that the folks running this film festival did what he believed to be an amazing job putting this lineup together. Based on what I was able to preview online and the viewing of his film, I would agree. It’s a film festival that shares a terrific amount of culture and history, giving a narrative voice to the people who have lived through a variety of circumstances that we in the western world often don’t understand. This festival was put on by the Diasporic Vietnamese Artists Network.
Over the weekend I went to Counterpulse, a local arts organization that specializes in producing cutting-edge works of performance art. They have been in the same spot in SoMA for a decade but are moving to a new building in Tenderloin later this year. I had been there before and enjoyed the space and the mission of the place but hadn’t attended anything there in a long time. I didn’t realize that what I was attending was a fundraising event, but it ended up giving me a great perspective on the place.
I heard about the May Day event because of an email from Capacitor, one of the five groups performing on the night that I went. They’re an aerial-contortionist-dance group that I always find amazing and I look forward to seeing their work. They didn’t disappoint of course, sharing and excerpt from a longer work that will be at Fort Mason next year that I’m already looking forward to.
Capacitor has been working with Counterpulse for the past year. The other performances were a mixture of similar work helped along by Counterpulse and performances by other partner / sister organizations in the Bay Area like ODC theater. Both types of performance were interesting. There was a wearable technology performance where movement altered voice sounds in a captivating way. There were two pieces that had a humorous edge. And there was a solo dance performance using a oversized chair as an impressive prop. I loved the mixture of performances, the unique inspiration of each, the abbreviated look at the dance community in the Bay Area.
Counterpulse executive director Tomás Riley with artistic director Julie Phelps
What was interesting was that it was also a fundraising event. Before the show and during intermission was a silent auction where people could bid on items including wine, bodywork, art, bike tours, overnight getaways, book collections and more. Between the two final acts there was an “auctioning of the bills”. This was fascinating to watch. The directors of Counterpulse got on stage and shared a breakdown of the different costs of operating their new facility, asking people to take on a portion of the costs. They said it was a way for donors to let people really know where their money was going. And of course it helped to make their costs really transparent.
It was fascinating to watch what people would contribute for or not, something that seemed to be based on the item up for donation rather than the dollar amount. Someone who didn’t bid on anything else shot his hand up immediately to donate enough to cover one week of free yoga for community members. Another gave to cover the cost of one month of full health insurance coverage for one of the staff members. A few donated to help provide stipend funding for arts fellows. Three more each gave a month of rent costs to keep the doors open. Another wanted to give tangibly and offered her money to the cost of office supplies and toilet paper.
Sometimes it was uncomfortable, sitting there in the audience, waiting to see if anyone would give for something specific. There was a sense of pressure to give, even though the presentation of the process was congenial and friendly, and I was curious if some people were giving out of response to that pressure. It was also interesting, as an outsider who isn’t really familiar with this community, to see how much of the giving came from a combination of staff members, board members and longtime supporters that the staff knew by name. It made me think of how we are all so passionate about our own little communities, the niches we’ve found ourselves in that we’re willing to really give for. It made me think of Amanda Palmer’s The Art of Asking and how it’s so true that people really do want to give to others in so many different ways.
One of the things that they were requesting donations for was the cost of maintaining the elevator in their new space. They mentioned that they were not required to include an elevator but wanted to do so as part of their ongoing commitment to full accessibility – not only so that people with disabilities can attend shows but so that dancers with varying accessibility issues can be welcomed to participate in the shows. This impressed me. I see a lot of live performances of all types and it made me think about how few have had visible disabilities of any kind.
Right now I’m reading Writing with Grace: A Journey Beyond Down Syndrome, a book by writer Judy McFarlane who works with a young woman named Grace who has Down’s Syndrome and is writing her own book. Judy is starkly honest about her own preconceived notions as she first met Grace and how she had to confront her own biases. She delves deep into the history of Down’s Syndrome research and litigation, both in Canada where she is based and also around the world. One of the things she highlights is the way that Down’s Syndrome fetuses are frequently aborted. I have no opinion either way on this, other than to say that I think abortion is a choice that all mothers should have though it shouldn’t be taken lightly and always comes with pain even when it’s the right choice. But the idea of it struck me because I have always kind of accepted that this is a totally reasonable choice to have and McFarlane caused me to consider that perhaps the legitimizing of aborting an entire category of humans isn’t something that should be commonly accepted.
What it really has me thinking about, I suppose, is the many different types of people there are in this world compared to the small percentage of which we consider “normal”. People on the autism spectrum, people with developmental disabilities and physical disabilities, people with major learning disabilities, people with mental health issues … there remains so much stigma around all of these things, stigma I admit I work with constantly inside my own self to varying degrees. And how each of these is considered a disability that diverges from the “norm”. But with the percentage of people affected by any one of these things, can we really say that the “norm” is norm at all?
I’ve learned a lot about the thinking process of people with autism as well as the learning process of people with dyslexia. Now in reading about Grace’s journey, I’m seeing yet another side of the same coin. And what it forces me to look at is my own value system in regards to “intelligence” and “knowledge” and “being smart”. I’ve always been smart by the standards of society. I’ve always gotten great grades in school and been able to carry on intellectual conversations on a wide range of topics and enjoy being well-read. And yet, it’s only way of learning and interacting with the world, so what I cling to as “smart” for me excludes entire categories of people who learn and express in other ways.
I realize this isn’t a new concept by any stretch, that this is something that people with different learning styles have been telling us for a long time. And yet it’s somehow impacting me in a different way right now. It’s subtle. I’m not sure what it means or will turn into or if it’s just reorganizing my thinking a little bit, which will likely reorganize my perception of and experience in the world. It’s all in process. And where I am at today.
I worried that I’d be too tired to go see the play I’d committed to seeing last weekend. It was a school weekend for me, which meant that I’d be in classes for almost eleven hours, classes that are intense and emotional and engaging. And yet, I felt so drawn to the play that I decided to push past the wall of tiredness and see it anyway. I walked the short distance to see The Balcony at The Old Mint in a windstorm, which seemed to appropriately set the stage for the ominous, slightly surreal play.
I’d been to The Old Mint once before, to see a lecture with my sister on sustainable gardening when the building had first reopened to the public. I was mesmerized then by the unique architecture of this historic space, with its cavernous rooms and dungeon-like vaults and labyrinth of doors opening one space onto another onto another into a courtyard. There couldn’t have been a better space picked for this play that is immersive without being interactive (a key point, because I love to be right-up-in-the-thick-of-it but definitely wasn’t in the mood to interact as a part of the theater).
The play begins in the rooms in the basement where gold used to be stored in the days when this was a money vault. Four different scenes happen simultaneously and the viewers get to wander from room to room at their own whim. I was a little worried about this part because I had mixed reactions to a similar set-up at a Speakeasy-themed play last year. I loved that one in the end but it took awhile to adjust to moving about without direction. In this case, the vignettes stood on their own and I didn’t feel pressure to catch every scene of The Balcony’s four starting scenes. Additionally, the cast of characters that weren’t in the scenes were available in the hallway to quickly direct viewers to the spots they might want to check out next. The thirty minutes went quickly and I enjoyed stepping in and out of various scenes.
Truth be told, I might not have known exactly what those scenes were about if it weren’t for the handy program that provided me with that information. The combination of walking in and out of scenes with the old-fashioned language made catching the nuances of the plot difficult. But I think that would have been the case had the play taken place in a more linear fashion on a traditional stage as well and this setting worked better because it offered a close-up, intriguing look at the set and costumes and characters. It was a good experience.
The group was then ushered upstairs and the following five longer scenes took place one after the other, allowing the story to unfold and become clearer as the time went on. Mind you, it’s a French play written more than 100 years ago, so it’s not clear in the way that a contemporary play is clear, but the story of a revolution, the play-within-a-play, the specific characters’ stories all do become clear. Each scene takes place in a different room so the whole group of viewers comes into the room, led by costumed ushers who generally fit well into the scene.
I have to say that I loved the costumes of this play. Some of them (the dress of the Queen, for example) reminded me of couture wearable art that you might see at a DeYoung fabric / fashion exhibit. Others were more handcrafted and cheesy but in a way that worked. Streetwear was combined with unique artistic elements that were eye-catching and interesting.
The caliber of the actors is also notable. Not that I’ve ever questioned that here in San Francisco where we have amazing small theatre groups. Still, there were several characters in this play that really stood out as amazing actors. Irma, the Queen, was seductive and powerful. Carmen was glorious in tall heels and extravagant facial expressions. Sometimes the actors cast into specific roles were unpredictable, seeming to reflect the make-up of San Francisco’s diversity in a way that worked for this play. See the full cast here.
The final scene plays out in a large room that looks out onto a courtyard and a portion of the scene is actually watched through the windows. It’s a unique experience. If you want to see a unique historic play in a unique historic building (a building that you really should visit even if for some reason you don’t make it to the play), The Balcony runs Th-Sat this weekend and next weekend. Tickets here.
How might a person describe this city of mine in one word. I was intrigued to see the responses in this video (via The Bold Italic):
I think if I were going to pick just one word to describe this city, it would be playful. There are so many opportunities to play here … to play with your own identity, to play with others in activities. More than anywhere else I’ve ever been, adults embrace the joy of play.
My beaux and I originally met on the How About We dating site. A few months ago, we joined their relatively new site for couples where you pay a monthly fee and get a monthly date for free along with discounts on various dates. We’ve done some fun things through them although I’m not sure it’s worth the $18 monthly fee. A recent example of that was our date at Monarch, which was a fun date but not worth the $18 we paid just to get a free date for the month.
Color Me Badd
The date was called Color Me Badd and was supposed to be a date for two at happy hour at Monarch. It was advertised as having 90’s slow jams and risque coloring plus two free vodka drinks. I assumed that there would be dancing since I’ve been to the two-level bar before but the bottom level with the dance floor was actually closed so it was just lounging. The music wasn’t danceable anyway; there were no slow jams and whatever was playing was more in the family of heavy metal than anything nostalgic.