[HN Gopher] I became the world's most prolific DJ, using code ___________________________________________________________________ I became the world's most prolific DJ, using code Author : redcodenl Score : 268 points Date : 2022-03-24 13:17 UTC (9 hours ago) (HTM) web link (www.royvanrijn.com) (TXT) w3m dump (www.royvanrijn.com) | lhorie wrote: | Something that doesn't seem to have been discussed from the legal | angle is this: if one can make any copyright claim about these | datasets qualifying as "prior art", doesn't that then open itself | up for trolls to claim that the datasets infringe on existing | prior art? It's not like I can draw a pikachu, release it to | public domain and make a slam dunk legal claim that all other | pikachus are henceforth kosher. | | I think Adam Neely makes a more relevant point in his videos | about Dark Horse and Levitating: it doesn't really matter what | any actual infringement claim is because you can typically find | relevant prior art from legitimate works of music if you dig deep | enough, even without going through the exercise of autogenerating | note sequences. | | As I understand, the legal arguments focus on whether there is a | clear and traceable connection between the creative process for a | song and the alleged infringed work, and whether there is clear | intent to omit credit where it is due. I.e. the argument already | starts from the assumption that similarities and inspirations | from existing works of art can and do exist. | andybak wrote: | Is there still a value in this as a Reductio ad absurdum? A | short cut that makes it less neccessary to slog through a prior | art battle in each and every case? | imwillofficial wrote: | This guy is nowhere near the "World's most prolific DJ" | | I've never heard of Him, and I run in those circles. | | Interesting reading though. | badcc wrote: | I think you missed the joke! | hilarious1212 wrote: | Saying something absurd isn't automatically a joke that I am | expected to get. This is humor on the same level as typing | the N word in all caps or just lying. It's not funny, it's | not clever. | jer0me wrote: | lol what | | Edit: pro*lif*ic (adj) marked by | abundant inventiveness or productivity | | It's just a fun title for his article about | programmatically creating millions of remixes, thus | becoming a very prolific DJ. That's the entire joke. It | doesn't seem equivalent to "typing the N word in all caps." | I'm sorry that your sense of humor is simply too refined to | understand us uneducated peasants' jokes. | | Also you really just made a throwaway to insult someone's | article? | wartijn_ wrote: | I think it's just a troll comment, given that it's a new | account with the text "hilarious" in it. | horsawlarway wrote: | Outside of the joke - I'd say your own definition of | prolific undermines you pretty hard there. | | While I respect the author for the goal here, I would say | he was neither abundantly inventive nor productive. | | His inventiveness boiled down to taking an existing | concept, and saving some disk space using an already | known algorithm. To boot - his method of saving that | space rendered the original intent (preventing copywrite | of melodies) useless, and was already considered by the | original group. | | His productivity was a single morning's work, creating a | single album, which is just random noise and will never | be meaningfully listened to even a single time. | | I'm not going to begrudge him the usage in the title, and | I think it's a fun weekend project, but I also think it's | pretty clearly clickbait (which is fine!). | tecleandor wrote: | I mean... That's very productive! | | "Productivity is the efficiency of production of goods or | services expressed by some measure." | | An whole album with millions of melodies in just one | morning is quite efficient :). Meaningful or deep, maybe | not. But productive... yes! | hilarious1212 wrote: | zer0-c00l wrote: | bro you have no place to talk to tell people to "go back | to Reddit" after posting that comment. "like typing the N | word in all caps" what on earth are you even talking | about? | [deleted] | hilarious1212 wrote: | Cthulhu_ wrote: | OzzyB wrote: | I think prolific in this case is more the "Super Whizkid DJ | Creates 100,000 Tracks in a Week" sense -- not in the sense | that you may or may not have heard of them... | imwillofficial wrote: | Yeah, I would not call 100,000 tracks of garbage noise | produced and never played for people a prolific DJ. A DJ is a | performer by definition. | | No knock on his accomplishments | vmception wrote: | yeah, he's not, by any definition, the first line of the | article says that is an alternate clickbait as a joke which | maybe allows it to comply with HN posting guidelines, but given | that the poster's username has the NL acronym in it which | probably means Netherlands, and the Dutch-like name of the | author of the article, (and actual prolific DJ scene in that | country), its probably the same person, so its unknown if that | actually makes it fit HN posting guidelines to me | | Its amusing, it got me to click though and I was pleased by | what I read | jjulius wrote: | I, too, "run in those circles" and I got the joke. :) | dmitriid wrote: | Spider Robinson explored this in his 1983 story, _Melancholy | Elephants_ : | | http://www.spiderrobinson.com/melancholyelephants.html | | --- start quote --- | | There are eighty-eight notes. One hundred and seventy-six, if | your ear is good enough to pick out quarter tones. Add in rests | and so forth, different time signatures. Pick a figure for | maximum number of notes a melody can contain. I do not know the | figure for the maximum possible number of melodies--too many | variables--but I am sure it is quite high. | | " _I am certain that is not infinity._ | | "For one thing, a great many of those possible arrays of eighty- | eight notes will not be perceived as music, as melody, by the | human ear. Perhaps more than half. They will not be hummable, | whistleable, listenable--some will be actively unpleasant to | hear. Another large fraction will be so similar to each other as | to be effectively identical: if you change three notes of the | Moonlight Sonata, you have not created something new. | | I do not know the figure for the maximum number of discretely | appreciable melodies, and again I'm certain it is quite high, and | again I am certain that it is not infinity | | --- end quote --- | | Do read it It's scary and prescient. | GLGirty wrote: | Author has discovered a new method of torture. I tried to listen | to the 2 minute sample, and rage quit after 30 seconds. | dr_dshiv wrote: | This. How about an algorithm to predict aesthetic appeal? | snek_case wrote: | A lot of people seem to miss the distinction between DJ (someone | who mixes/remixes music) and composer/producer. | [deleted] | cwkoss wrote: | We should pass a law to cap the maximum earnings from a single | work of art to destroy the incentive for lawyers to strangle | culture with predatory lawsuits. | | Ex. Once a work of song makes $10M it should just go into the | public domain. Want to make more? Keep writing more songs. | eweise wrote: | I'm surprised to learn that copyright doesn't take into account | the length of notes, which to me is part of what makes melodies | unique. | whiddershins wrote: | It does, this description of what can be copyrighted is | confused. | jerf wrote: | It sounds like you're assuming that they actually have any | copyright on this. They don't. It's not identical but see: | https://news.ycombinator.com/item?id=30702117 for some similar | issue. | | And in general, you must be "creative" to have a copyright. You | might have a "copyright" on the resulting file, but no court | would ever dream of extending that to a claim of copyright on | every melody. There is no way that the author was "creative" in | any sort of proportion to the amount of material being | putatively claimed. Normally one would expect for this to then | start a big HN chain arguing the precise definition of | "creativity per unit output" that is the threshold, but in | addition to the fact you have to get a _court_ to agree to your | definition, bear in mind that this is quite literally | _exponentially_ little creative effort per output. The author | has put in so little effort per output that they haven 't even | listened to their own "work" once, I'm sure! This is not the | normal definition of a "creative work". The usual arguments | will be based around a polynomial at most, and frankly usually | _linear_ amount of output per "creative input". Especially in | light of the fact that the lifespan of a given "creative human | being" isn't even "linear" so much as "constant". | | Given that this is only a very small amount of effort from | being able to claim all combinations of notes ever, it's clear | this is not a copyrightable work, excepting perhaps the literal | output of the work but no more than that. | | (It's also not _that_ much more work to order these things in | entropy order, by analyzing songs and deriving some probability | for note lengths and intervals, making it so that one could | just start generating melodies and actually hit almost every | useful melody in an even "smaller" work. Also not | copyrightable.) | | So, basically, don't learn anything about copyright from this | article. | wincy wrote: | I mean, the game No Man's Sky procedurally generates 18 | quintillion planets but they hold a copyright on all of those | planets, don't they? They certainly haven't explored all of | the planets. | jerf wrote: | Imagine you load the No Man's Sky source code, and you | break it all down, and you load the assets in. You | certainly have a copyright on all the assets. | | You don't generally end up with a copyright on all possible | combinations. You may still _de facto_ "own" the copyright | if all possible combinations encompass parts of your own | creation. For instance, I've been playing XCom 2 lately. It | has a character creator. Firaxis can't claim to own all the | possible combinations of characters it can create, but they | own a substantial portion of the parts. I don't think they | could claim they own eyes of a particular color or | particular shades of skin, but all the clothing, | accessories, tattoos, guns, etc. all _individually_ have | copyright, so it 's still not like I personally can just | crank up the character creator and claim a copyright on | some particular one and start using it for whatever | commercial purposes I desire. | | No Man's Sky, from the looks of it, is in the same boat. | They don't necessarily get "a copyright" on everything | their algorithms can possibly generate, but at the same | time, if someone produces an exact match of any of the 18 | quintillion planets they must be using plenty of | copyrighted assets along the way. So in practice there may | not be a big difference. | | Where the difference comes in is when the pieces get to be | so fine that they are not themselves copyrightable. To put | it in a visual context, the original favicon format was | 16x16. Even at full 24-bit color, that's only 2^32 possibly | favicons. It's trivial to enumerate them. But you can't | copyright a single pixel, and you can't simply claim a | copyright on all combinations. The former is a bare fact, | and the latter had no creativity ("enumerate all | possibilities" is not creative, it's a homework assignment | in Comp Sci 201). You can't copyright a single note, it's a | bare fact. You can't copyright all enumerated combinations | of them. You can copyright the program used to generate | them, but that doesn't give you rights to the output. | | So, they do and they don't. And the sense in which they do | doesn't match the sense in which trying to copyright all | possible melodies does. | | In the event that you have something like | https://www.youtube.com/watch?v=8fZBUsn5RYg , kkrieger, a | super-procedurally-generated game that doesn't have any | clear textures or geometry in its code, I think you could | claim a copyright on what _gets manifested_ , but not on | _every conceivable thing the algorithm could generate_. | What gets manifested will be a much more reasonable amount | of protection relative to the effort, merely polynomial at | most, rather than exponential. Exponential is, you know, | _really big_. | balls187 wrote: | I'm assuming you mean the US, right? | | I was doing legal research on this, and funny enough there | is an article that discusses this very issue: | http://mttlr.org/2016/11/no-mans-skynet-copyright-in- | procedu... | munk-a wrote: | IANAL but I'm pretty sure generating something, even | something creative, isn't enough for protection if it isn't | novel and distinct. I'd assume none of their planets would | be protected since there are 18 quintillion of them and | most of them have never actually been rendered - but the | process to generate planets of that style might be | protectable. | thebricksta wrote: | It's a fun concept, and maybe will be useful in some weird edge | case of a lawsuit, but no. Most recent music infringement | lawsuits seem to argue that some combination of the sound | design, groove, rhythms, chord progressions, melody or reduced | melody, structure, and lyrics wind up giving a song the same | "feel" as a prior song, and that's the basis of the copyright | infringement. Then pseudoscientific experts come in and pick | and choose common musical elements that both the songs share to | attempt to justify the claim, oftentimes wrongfully taking | credit for inventing genre-wide defining musical elements. Adam | Neely did a good job touching on this in his recent analysis of | the Dua Lipa Levitating lawsuit [1]. | | An AI generated song machine would have to nail a lot more | elements than just the melody notes to properly stop music | copyright cases. In my view, a more interesting project that | might be more effective in defusing lawsuits would be to try to | catalog all of the musical tropes that define genres, then | attempting to detect how common they are in that genre. In an | ideal world, maybe this would be able to drive a metric of how | similar specific two songs are vs. picking any two songs in | that genre at random. | | [1] https://www.youtube.com/watch?v=HnA1QmZvSNs | woolion wrote: | >Adam Neely did a good job touching on this in his recent | analysis of the Dua Lipa Levitating lawsuit [1] | | He most certainly did not. Of all the different takes out | there, his is very weak. | | >Most recent music infringement lawsuits seem to argue that | some combination of... | | There is a very good reason: as he mentions, the chords | diversity use in pop songwriting is typically so poor that | based only on that, the amount of things considered | plagiarism would thus be ridiculous. If the similarities | affect almost all dimensions (style, arrangement, rhythm, | melody, ...) to the point of being "essentially the same", | then it's exactly what people would want the law to exist | for. | thebricksta wrote: | > He most certainly did not. Of all the different takes out | there, his is very weak. | | I think Adam Neely did a good job explaining what | infringement lawsuits mean in the context of popular music | production. Whether or not you agree with the strength of | his case on this particular lawsuit, well that's not quite | the point I was trying to make here. Still, what do you | consider to be a strong take on this case? | ovi256 wrote: | This may be a consequence of copyright law being developed in | Europe. The European musical tradition is mostly concerned with | harmony, and less with rhythm. A musical culture focusing on | harmony would be most of the African traditions. | gnulinux wrote: | Just a nitpick but blanket statements like this are highly | misleading. "European" musical traditions are not concerned | with rhythm any less than "African" traditions. European | musical theory historically focused on harmony more so than | rhythm which has the side-effect of vernacular developing | more a robust vocabulary for harmony. | | The reason this distinction matters is because I think its | important to understand that not only European musical | traditions will have equivalent rhythmic complexity but also | other musical traditions will have equivalent harmonic | complexity. Just because we don't have a great model of other | musical traditions' harmony, does not mean they lack harmony. | And vice versa. E.g. during Baroque era although temporal | information was rarely denoted on paper (any more than 3 | time, 4 time, tempo etc) musicians performing these pieces | had to express a certain understanding of rhythm. Pieces were | never played like MIDI, they always had rhythmic nuances. | dotancohen wrote: | And this seems to be completely lost today. Go listen to | the Furtwrangler recordings, then listen to any modern | arrangement. The modern arrangements are so precise, as if | a computer is reading the scores. But the 1940s recordings | are so full of life and vigor, it sounds like a different | piece. And it is so much fun to listen to, even if the | recording quality is atrocious by today's standards. | | Karajan might have been the last of the conductors that I | enjoy like listening to. His fifth changes pace but it | feels so natural. The slow parts are drawn out were they | need to be, but the fast parts just grab you and drag you | along. There was no notation for that, it took | interpretation. And he could get all the instruments to | open the piece together. Even Berenbaum couldn't get his | players to open the piece properly, at least not those that | I could find on Youtube. | | Thought there is one young guy on Youtube who does a | terrific job conducting, I should go find that. | QuercusMax wrote: | I think you meant to say that African traditions focus on | rhythm, not harmony? | munk-a wrote: | This is especially relevant when it comes to timbre a musical | quality that's extremely difficult to even record in staff | and bar notation. | kube-system wrote: | Copyright _does_ take into account the entire work. | | However, people will sometimes claim that a portion of their | work is stolen. | | The idea here is to give someone a citation of it existing | elsewhere as a defense to the above. Although this is a very | experimental endeavor and some suspect it won't be taken very | seriously in an actual court, because the context in which it | was created may undermine some of the creative requirements for | qualification under copyright law. | swamp40 wrote: | What about the silence between notes? Copyrighted or no? Their | Jingle Bells sounds horrible with no silent spaces. | wodenokoto wrote: | Wasn't there an article on the front page last week about how | computer generated art wasn't copyrightable? | nwsm wrote: | The TED talk was great, though he could have used more compelling | examples than George Harrison and Sam Smith. Also great was | Damien's Twitter response to the author on using the de Brujin | approach- | | > We had initially considered a "de Bruijn" sequence. But if we | were to use a single file, that would have down sides: | | > If someone infringes our work, it would only be a tiny | percentage (0.0000000001%?) of the "work" -- so someone would | argue "fair use" | | > Same idea with others incorporating ATM works in theirs ("tiny | percentage") | | > So our technical/legal design is "One MIDI file per melody" -- | which I think is a legal feature, not a bug. | GrazeMor wrote: | This only works for western music | kleer001 wrote: | It should work for declaring melodies in any system of music | that has notation. | | Now, you're correct if you're saying that not all music has | melodies. Or that things like Indian ragas would be difficult | to run through exhaustive permutation. But, as far as I know | all music in the world has native notation or can be notated | and reproduced. | GrazeMor wrote: | He was clearly relying on being able to distill a melody to x | beats per bar which is very western. | almet wrote: | This is a mathematical approach to music, and lacks (from my | point of view) what is the mere essence of music : choice. | | I understand why they want to take back the copyright on music, | _but_ they do so in such a geeky way that it seems completely | useless to me. | | Ultimately, musicians will pick good / cool melodies from this | dataset, in the same way they do when in front of an instrument. | | I might be missing the point ? | marssaxman wrote: | The point is that applying copyright law to music leads to | absurd outcomes. It is a bad idea, and ought to be abolished. | throwaway675309 wrote: | Does the same apply to other mediums? What if I generate all | possible 64x64 images? (Extend that to every resolution in | theory) | Kye wrote: | What do you imagine would change if musicians couldn't | protect their work? | | As a musician, I think what would happen is the companies | that abuse copyright now would keep abusing musicians, except | now they can just take any song they like without | compensating the person who made it. | ARandumGuy wrote: | Broadly speaking, there are 3 main copyrights that apply to | a given piece of music: the recording, the overall | composition, and the melody. The first two are pretty | uncontroversial [1]. You can't distribute my recording | without my permission, and you can't make money off of a | cover version without compensating me. | | The melody copyright is where things get really hazy. It's | hard to determine when a melody infringes on another | melody. What if the notes are the same, but the timing is | different? What if the notes aren't exactly the same, but | are pretty similar? What if the main melodic ideas are | really common in a given genre or style? How do you | determine if there was actual copying, or if two musicians | just came up with the same idea independently? What if the | melody just isn't an important part of the style of a given | work? What if the melody is almost the same, but used in a | completely different musical context? | | There isn't an objective set of criteria that can determine | if a melody infringes on another melody, without being too | narrow or too broad. And since there's no good criteria, | the only way to litigate this is to have better lawyers | then the other guy, which rarely works out well for | independent artists. | | [1] At least, uncontroversial at a high level. The details | get messy really quickly. | Kye wrote: | There is definitely a sizable and vocal contingent of | people who want all copyright on music abolished and only | consider performance a valid way to make a living as a | musician. When they don't specify, like above, that's | generally the meaning. I've been chastised for selling | albums enough to know it's not isolated enough to ignore. | msla wrote: | Can chord progressions be copyrighted? | | https://www.buzzfeed.com/reggieugwu/what-the-law-says- | about-... | | > Copyrighted elements of a musical composition can | include melody, chord progression, rhythm, and lyrics -- | anything that reflects a "minimal spark" of creativity | and originality. | | https://ask.audio/articles/5-common-beliefs-about-song- | copyr... | | > Song Titles and Chord Progressions are not copyright | protected | | > This is true. | | [snip] | | > Ditto for chord progressions. There must be hundreds of | songs that were hits in the '50s and early '60s that | followed the familiar "ice cream changes" progression of | I-vi-IV-V7. Thin "In The Still Of The Night" (another | song that shares its title with others), "Donna", | "Silhouettes", "This Boy" just for starters. Also the | chords from the "Pachelbel Canon in D" have been used | numerous times. Think "A Whiter Shade Of Pale." | | Does lack of enforcement make something legal? | | https://moviecultists.com/can-chord-progressions-be- | copyrigh... | | > "If a single chord progression were elaborate enough | and unconventional enough, it could be protected." | | How many possible chord progressions are there? | svantana wrote: | Of course, any digitally representable artform can be | enumerated this way. What's special is that melodies have low | enough entropy that it's actually practical to create them all, | which isn't the case with (say) movies or novels. And that low | entropy is also why spurious similarities occur, as when huge | pop stars are accused of plagiarising some band with 200 | soundcloud followers. | [deleted] | viccuad wrote: | I found that the TED talk linked on the article explains the | issue colourfully, in case you haven't watched it. | helsinki wrote: | Cool - now scrape the web for new songs that match one of yours | and sue them ;) | newguy999 wrote: | davedx wrote: | Kinda interesting project but very clickbait title. What does | this have to do with DJing? | temptemptemp111 wrote: | [deleted] | mellosouls wrote: | Previous discussions on the underlying project fwiw: | | https://news.ycombinator.com/item?id=22301091 | | https://news.ycombinator.com/item?id=22440944 | | https://news.ycombinator.com/item?id=22413526 | fatlat wrote: | benabus wrote: | But if you can't copyright something that was created via | automation (https://www.ipwatchdog.com/2022/02/23/thaler-loses- | ai-author...), does this even matter? | Cthulhu_ wrote: | Good luck proving that these songs were not created via | automation in court - or that the claimant did not create the | melody via automation for that matter. Wouldn't most electronic | music fall under that definition? | kube-system wrote: | You're missing the point of what the court is saying. | | The court is saying "the [typewriter] didn't write the book, | you wrote the book using a [typewriter]" | | Replace [typewriter] with any technology. | horsawlarway wrote: | You absolutely can copywrite works created via automation, you | just still have to list a human as the author. | | Which makes a lot of sense to me - Someone had to set up the | automation with the intent to create a copy writable work, and | copywrite often has built in expirations based on a window of | time after the death of the author. Hard to make that sane if | you're listing a computer program as the author - when does it | die? | nwsm wrote: | I certainly agree that the author of an automation deserves | credit/copyright for its output. | | But imagine I build something that spits out as many binary | sequences as possible. Do I then have a copyright to all the | "works" that can be interpreted from it in various data | formats I may have accidentally met? | | This question is about intention, not authorship. | roywiggins wrote: | Even if you assign the copyright to a human and not a | machine, you need a minimal amount of creativity to qualify | for copyright, eg phone books can't be copyrighted. A "phone | book" of every melody of a certain length is probably(?) not | copyrightable either. | | https://en.wikipedia.org/wiki/Feist_Publications%2C_Inc.%2C_. | ... | viccuad wrote: | The linked TED talk on the article explains it nicely. A | phone book is created with a finite set (numbers,letters, | words in English), but that finite set can be used to | produce an infinite set. You can always produce a new | result by appending to previous result. | | In contrast, a musical melody is created by a finite set, | and is bracketed by a duration. You can't keep adding more | notes to a composition without extending its duration. | Doing so makes it non melodic. If you do it enough, it | becomes noise (white noise, pink noise..) | horsawlarway wrote: | No real disagreement from me - I'm just saying that there's | absolutely nothing preventing you from using automation to | create copywrite-able works. | | People keep throwing that article around, and there seems | to be a profound misunderstanding about what was determined | there - automation is _fine_. Listing a machine as the | author is not. | lbotos wrote: | You are missing the crux of that argument: | | "Thaler listed Creativity Machine as the author of the work" | | You cannot claim that the AI was the creator. | cycomanic wrote: | I suspect the "appealing" melodies amongst this are likely a | small subset of the the total set. | | The whole story reminded me of this axis of awesome (OZ comedy | group) song (well worth watching): | https://www.youtube.com/watch?v=5pidokakU4I&list=RD5pidokakU... | 29athrowaway wrote: | Clickbait. | erikschoster wrote: | Other projects in a similar spirit: | | Tom Johnson's Chord Catalog which organizes the 8,178 chords | possible in a single octave of the piano: | https://fr.wikipedia.org/wiki/The_Chord_Catalogue | | James Whitehead's All Possible CDs: | http://www.jliat.com/APCDS/index.html | | > This "thought" experiment although based on real "physical" | objects can be treated as a simple mathematical object and so | allows us to explore some of the consequences of this object or | objects. The important feature is that any finite series is | fixed, so greater sized disks, blue ray, whatever, is not | significant to the idea, that is in a finite universe there are a | finite number of finite objects. The size of the bit strings set | real limits on the number of possible objects; web pages | typically use 24 bits to encode colors, 8 bits for red, 8 for | blue, and 8 for green that gives 256 x 256 x 256 or 16,777,216 | possible colors, and no more. | | > In Deleuzean terms, you could call this, all possible CDs, the | "virtual plane", thought experiment, in the case of 2 to the | power 6265728000 of all possible audio on CD, a virtual set of | possibilities or a virtual plane, and the actual physical CDs in | the world are actualizations of these virtualalities. Actual | objects, physical CDs, being intensities on this virtual plane. | Actual CDs are not mere copies of there virtual counterparts, | they are not re presentations of the virtual, for they have many | more properties, many physical properties, color, size, shape | etc., just as in the Deleuzean Virtual and Real planes, the real | is not a copy of the virtual, but an intensity. | | > Using this as a model we can "experience" actualities that are | physically unlikely for humans if not in practice impossible, for | 2 to the power 6265728000, is approximately 10 to the power | 2000000000. There are only 10 to the power 118 particles in the | universe so a full and total actualization of the virtuality of | CDs seems impossible. | PaulDavisThe1st wrote: | Related: https://ianring.com/musictheory/scales/ | | All possible scales with 12TET and octave equivalence. | wpietri wrote: | Oh, neat! The Chord Catalogue is even available on streaming | services. Here it is on Pandora: | https://www.pandora.com/artist/tom-johnson/the-chord-catalog... ___________________________________________________________________ (page generated 2022-03-24 23:00 UTC)