I gotta start making these journal entries smaller, or I'm never gonna update this thing. I've been putting this one off anyway because I didn't want to call a very good thing before I was confident in it, but now I am!

There's a lot I didn't say or post here with regards to my last grocery store job, because it was just bad all around. The people were nasty, the management was sketchy, communication was hilariously nonexistent, managers would literally ignore you when you needed their help. I had to learn of my own disciplinary action through other associates who overheard things, and when they wanted a sit down struggle session over said (two-week-old) writeups (which were about me not doing things I was literally not told I should be doing), I walked out. Fuck 'em. $13 an hour, or any amount of money, isn't enough for that shit.

So... here's really good job news for once.

I got a job at a beer distributor. My mom saw the position on Indeed, and the day I quit, I went to apply for it and found it gone. I emailed them.

The next day, they said to send my resume over. I did, and I got a call. "We love your resume, would you like to come in for a sitdown interview?" Of course I said yes.

I interviewed. They were impressed with how much I already knew. Three hours later, I get an email offering me a position with them. Full time, a couple dollars more an hour for the same work, basically, just bigger items.

I went, in a week, from being employed at a grocery store where people didn't even say hello to me when I walked in to being employed at one of the vendors of that store, a family-owned place where you know everyone and all communication is done face-to-face and on checklists. I am now making what I made in a month there in two weeks. No stupid purchase limits, no ringing up groceries. I have consistent days off again, so I can start streaming again (and did last night!). I can listen to my weirdass 90s rock while I work!

It's phenomenal.

Of course, my shifts are a lot longer. I've never worked full time before. Days before were six-and-a-half hours tops; today, I did nine-and-a-half. I'm good with that! It's a bunch more heavy lifting, and I do feel it when I come home. I'm good with that! I was fully expecting to have a car (only the car) financed by maybe late spring 2025; now I'm gonna have my loans fully paid off and the car by February of next year. If I stay a year, I'm still looking at over $10,000 in savings on top of that I can use for the next Wales trip and whatever else. This has so massively sped up the timeline for my move to Wales and me as a person, and it's in a place where I finally feel valued in what I do.

This does mean the creative stuff has slowed a bit, but I'm still quietly working on the archives overhaul, and I'm hoping to have Last Summer CDs made up and sent out in September when dcb's back at school. Obviously, that's no big deal. Real life, work, and money come first. For now, I'm just taking it easy and looking forward to my forthcoming first paycheck.

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Got a lot of really exciting real world stuff that's gonna make me a lot of money going on, but I'll save that for another post. Let's talk my August creative plans! I meant to make this post a week ago, but then I spent it playing Gran Turismo 2, watching that boxset of Penn & Teller: Bullshit! I got from the library sale back in June, and recuperating instead. I need to shut off more—2025 will absolutely have more of that.

So back in May of last year now, I picked up a grey cat adopt from Caby that I named Miranda. She designed her to be sold obviously, but I just couldn't let her go to someone else, especially not when I had such a great idea for how to use her: a mascot for archives. archives was initially designed in a couple days in 2020 and themed around the Archives level in Goldeneye on the N64, but as cool and recognizable as that theming is, I wanted something more for it. Something more unique, something more personality-filled, and something with a little more meat and context than simply a list of download links and browseable old Somnol sites.

I've known how it should look since the beginning of this year, but it's taken me until now to do it. Part of the issue is I've never been too happy with how I draw Miranda, or any housecats really. I couldn't shape their heads correctly, I couldn't position parts of the face correctly, Miranda's got long hair like I was never all that great at drawing, I was experimenting with what details I wanted to put on them, and it was just a big fiddly mess that didn't come naturally, which is funny given how many kids get into drawing through drawing lots of cats and dogs. Just didn't come naturally to me!

Thankfully, developed skill and a lot of practice during Art Fight has made me much more confident in my ability to draw all of the above, and so now, I'm ready to start developing a better archives and give Miranda her home finally. Take a look:

Click for full size!

If you read the 2023 Wales trip diary, you can see an example of the redesign prototype from a year ago, and the moment I landed back in the US, I just stopped liking it. Aside from how much I didn't like the Miranda in the header, I wanted archives to be open, borderless. Initially I had an idea of doing a very 70s orange thing with thick white lines around design elements, but that was never very sharp in my head and I'm not a design sperg, so I just kept it simple and went with this HTML 3.2 table layout thing. Realizing that tomb theming would be kinda cool with the sandy background, I pretty shamelessly stole the icons from the old PopCap game Alchemy and guzzied them up on this 90s gold-marble surface courtesy of XFader.

I'm still surprised at how much I actually like the Miranda illustration, honestly, not just because of how tricky I've always found her to draw, but because I actually didn't line it. I realized doing so much art for Art Fight that a lot of the wonk in my sketches has been due to me trying to figure out limb thicknesses and extra poof from clothes in the same step, and normally, I hate my sketches for that reason. This time, I did my skeleton stick figure pose, then a nakey pose for the character proportions on another layer, and then finally drawing Miranda and her clothes on the top layer. It worked really well, and because the final size for the illustration was about half my sketch size, I didn't feel the need to line it. I might go back and touch it up and add the second guinea pig, but the experiment was a success!

This new iteration of archives is gonna have a nice timeline of Somnolescent history (projects/joins/leaves/events), a proper way to browse through the various versions of our sites with thumbnails and dates, and of course, more of this kitty woman I'm still really fond of. Expect it out later in the month, and that'll be one more thing I wanted to do officially off my list.

As for the rest of that list, I'm still aiming to have the Last Summer CDs finalized and ready by September or so. I still have to actually make the CD master, and I'll likely go back and tweak levels and some of the melody parts on some of the songs while I'm at it. It's one thing if it's some Web copy I can replace anytime, but once it's burned and mailed out, it's burned and mailed out. I want to make sure I'm totally satisfied before I do. I also intended to send art out with it, which has admittedly been the real holdup. Again, I wanna do it right, like it's been in my head. I have to wait for dcb to go back to school first anyway so he can actually receive packages.

Beyond that, the only real thing I'm aiming to do is have all my mari.somnol stuff settled. lofi still needs Kevin and Theo finished, nofi has a nice list of bugfixes and features it's behind on since I started working on lofi, and I need to build hifi. They all need illustrations. If I can pull this off before 2024 is out, I'm taking the rest of the year off. I don't remember the last time I just wasn't working on anything. I think I've fatigued a little bit (I honestly don't even know if this journal entry is particularly coherent), and I just don't have a lot to prove like I used to. I think time away from constantly Making Stuff will let the idea bucket start to fill up a little bit too, which is super important if I wanna spend 2025 entirely on my stories like I do.

Oh yeah, and stories—Savannah might have some really fucking good ones for you soon. Watch Letters for the announcement.

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Well, August 1st would normally mean the end of the annual art trading extravaganza Art Fight (here's my profile—note that all Art Fight links require a login), but they extended it to the 3rd this year! Turns out deploying features mid-event causes people to not be able to submit attacks. Still, I'm bowing out at the normal time because I've accomplished everything I want to, and I really had to upend a lot of my routine to make it happen. It was intense, sometimes rewarding, and sometimes really deflating! Wasn't bad though, definitely a nice first year with a lot of positives.

I've been intending to participate in Art Fight since I took up drawing in 2022, but I really wasn't in any shape to, in terms of my confidence or my abilities. Really the hardest part was that I didn't have the characters I wanted to have on my profile, and "June Rushed Reference Syndrome" is hard enough when you're an established artist, let alone six months into your art career. It definitely led to a lot of stress between me and Caby, promising things and then not being in any position to deliver (even if rightfully so), and I swore this year I'd give her a good showing until the end. Thankfully, I was able to get Maldwyn, Cammy, Colton, and Nicholas up for people to pick from. Really plenty of choice for how few defenses I wound up getting, and all ones I'd be pleased getting art of!

Then came the actual fight. I'm not a particularly quick artist, but Art Fight really sped me up. I was getting an attack done every two days at my quickest, nine attacks in total over the whole fight, while working 30-36 hours a week! I never want to half-ass a drawing for anyone, because there is no feeling worse than knowing your character was only picked to give that person points during the fight and up their battle ratio. I couldn't give a fuck about my ratio. I want every attack I do to potentially be someone's favorite of the whole fight, or at least one of them, and I want pieces I'm proud of, ones that expand what I can do as an artist. To that end, I only do fullbodies, and they were all full-color and shaded and most involved props of some kind.

And sometimes I just had fun with these drawovers! This is from a real photo dcb took on Lake Michigan with the DSi Camera app running on a 3DS. Super adventurepilled.

On the artistic end, Art Fight 2024 definitely grew me. I learned how to draw digitigrade legs finally. I finally got into a shading and highlighting style I like. I've drawn amps, I've drawn easels, I've drawn Pokemon attacks! I'm so much more willing to dive in and draw designs I've never attempted before, even species I've never attempted before, like Umbreons and Azumarills and African wild dogs. It's a really phenomenal feeling. The artistic growth this year has been strong, and I owe it to my participation this year. I also just think the attacks I came out with are really cute, and I've definitely gone out of my way to show people them after they're done, where before, I was a lot less willing to. Part of it's confidence, and part of it is just that I think I'm at a skill level where it's not just art Caby likes because she's supportive of me, it's genuinely appealing stuff.

And the mutuals! Outside of Somnolescent, of course, it was really nice to see both Olaxis and a fellow named Nasiloo actually attacked me first, right at the very start of the fight. I was at the tops of their lists! That was really cool, and I made sure to work extra hard on their revenges in return. (Actually, Olaxis got me into a little chain with him, and that was really fun. Plus I got an extra Cammy when he drew Wren for Caby, with a nice note about how much of an inspiration we've been attached. Very glad; you've been really cool to have in our little orbit.)

Admittedly, though, to produce at this rate has eaten up my normal routine. Most of the month, I didn't emerge from my room until two hours before it was time to leave for work, and it was to eat and get ready for work. I stopped doing my album reviews, and I haven't even touched the books I got for my birthday, or the audiobooks and DVDs and albums I picked up at the library sale, or most of the review requests from a week ago. I haven't played a game in weeks. There were many days where I'd get up, do art until it was time to go to work, go do my shift, come home at 10, and do more art until I was too tired to stay awake at 2 or 3 in the morning. Some attacks took literally days on end of that, and you have to ask to what end it was for, and sometimes, it was lovely, and sometimes it was crushing.

I don't draw solely to get people's approval—in fact, there's been a lot of times where I'm happy just sharing it with the group and nobody else—but Art Fight bakes the socialization into the process. You're there to draw for other people, and especially when it's someone I look up to and would like to make friends or mutuals with, that's a lot of pressure. Easily the attack I spent the most time on was for a guy named Goldie who frankly got me into the whole furry thing when I was a kid, someone I never met but whose work and whose designs I really loved, someone who's knows a lot of people and has introduced me to a lot of great artists through their many many drawing of his sona, and someone who Caby became mutuals with back in 2022 after she added onto that pile. It seemed like such a surefire thing! I worked for four days, referencing his own guitars, trying to get everything super detailed and accurate but still cute, drawing and warping way too many fucking straight lines to fit not-straight lines, losing sleep over the whole thing, hoping I could make a mutual out of him too, told him a bit about how much his stuff meant to me in the private attack description, and—

He politely thanked me at the end of it. No mention of any of the detail I put into it, basically just an acknowledgement that he saw it and didn't find it repulsive. No revenge like he did for Caby's drawing, no mutuals. I've seen this guy be excited about art before, and my drawing just didn't do it for him. It's honestly still hard to look at my drawing. Super deflating, not fun, I almost quit the event over it, and I'm certainly not going back to his comment to get a screenshot.

I dunno. I don't hate him or anything, and I get that I'm not owed a thing from strangers just because I like their work, but man, that's a lot of time to invest in gift art only for it to be very lukewarmly received. Caby can weather that because she just draws anyway, and she can do four attacks in a day, but it takes a lot more of my time and energy to get a single one out, and especially when it was someone who was a big inspiration to me like that, it sucks. (There is a happy ending here: I drew another out of nowhere attack for a girl with a kitty character I've loved since Caby drew him, and while it took a bit for her to see it, she not only gushed about it in a comment, she followed me back and drew the most adorable and amusingly prettiest fantasy Cammy you've ever seen in revenge. It definitely helped to bring some of the magic back to the event, to make me feel like people actually appreciate my hard work when they eat up days of my time.)

So yeah, I think my expectations were set a little too high this year on the social end of things, and paired with it being so disruptive on my life and schedule, it's definitely been a really interesting, emotionally intense, and not uniformly positive experience. I am happy to have partaken, though, proud of myself for what I got done, and I will be back next year. I'd rather draw big things and be disappointed when they aren't taken how I want them to than not draw for others or outright half-ass an attack and sabotage what could be. It's the way I live life. I want to aim high and succeed some of the time instead of aiming low and succeeding none of the time. None of what I do, none of my plans, none of the trips overseas, none of my aims for my work and my skills and who I want to be as a person, would be possible if I were mousy about it. If that means getting hurt or looking ridiculous sometimes, I'm okay with it.

The other drawover I did, and definitely one of my favorites of the whole year. I really oughta do more of my backgrounds in level editors.

I will definitely aim to be less maladaptive with it next year, though. The good news about the Art Fight refs I was doing is that they double as toyhou.se profile fullbody fodder, meaning each one I get up on one site, I can bring back (or bring for the first time) to my toyhou.se! That's the one I really care about still, and the artsy profile I'm the most proud of, so in working on that, I'm also preparing for next year's event. I'm aiming to have a better and more easily discoverable batch of characters for people to draw, and I'd like to start exploring a bit beyond the circles of artists I recognize and maybe make some more friends at my art level (and age—Goldie is at least twice my age, which probably didn't help). Beyond that, I'll start brainstorming some ways to reduce the amount of work I've gotta do, style things where I can maybe bake shading into the lineart and skip a step or two. Plus I'll be a year older and better practiced, so I might just outright be faster anyway. The goal though is to not have it eat up all of my free time so I can still get in races in Gran Turismo 2 and not feel like I'm losing precious drawing time doing so.

My first Art Fight really was a fight sometimes, but I'm also happy folks drew for me and liked what they did from me, and that I grew as much as I did as an artist. It helped me remember why I started drawing in the first place, to illustrate my sites and stories and get the ideas for characters and designs out of my head and into yours. Gotta keep ahold of that. Anything that isn't fun, I won't be repeating. Anything that is fun, or furthers that goal, you can expect me back at it next July.

I'll have my plans for August up in a subsequent post, this one's gone on long enough. Be on the lookout for all my attacks this year on my various art sites!

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I gotta fuckin' write something, this Art Fight stuff is a grind. Conveniently for the journal, to give us two whole posts this month, I have something to ramble about! Let's talk album reviews, because I recently hit a really special milestone with them: 100 entire albums in the database!

To review or not to review

When I was putting together the brand new mari.somnol on Macintosh Garden, bringing back my album reviews (and game reviews from cammy_v1—we'll do more of those next year, promise) seemed like a really natural fit for the big smorgasbord approach I wanted to take with it. One of the things I started doing pretty early into my Neocities career was album reviews, these little two paragraph sorta-advertisements (or PSAs, depending on the review) for whatever albums I liked and had been listening to at the time. I took requests a few times, I really enjoyed writing them, I covered some then-recent albums even, but for whatever reason, I left them on Neocities when we moved to our own hosting. 36 in total were written that first year. All but two of these has been returned to the database, as I hated how they came out for a while and now I like them again.

They never truly left, though. When I was working on mari_v2, I cloned my Neocities site and hid it in the files as the place you get sent to if you encounter a 403 Forbidden on my site (I was super into hiding stuff around my sites at the time, page comments, secret extra content, that sorta deal). A couple more reviews were written for old time's sake. On various versions of the Somnolescent Gopher, the album reviews again came with, occasionally getting little rewrites and one or two more being added to the mixture. It was still never something I really advertised though, more sort of a throwback when I was feeling fuzzy for Neocities.

Then came mari@macintosh.garden, and I wanted to bring the reviews back proper. Of course, at the time, I was still using entirely static HTML, so each artist got their own page I had to manually maintain and update for layout changes. I'm an idiot and I enjoy pain, so I dutifully did this, but it tempered my desires to write a ton more. 16 more were written between June 2023 and March 2024, when I came back from the Wales trip, a good chunk of those being written in transit on planes and coaches.

And then my learning PHP for Protoweb blew the doors off the whole thing. Suddenly, I didn't have to maintain dozens of different artist pages. I could just have the one read.php script and have it pull reviews from a database exactly as requested. I got the idea to integrate rewritten and updated versions of the Rediscovering entries into the mix (since that was how I covered albums between 2020 and 2022). Suddenly, I was flush with entries. Suddenly, I could write one a day, just add it as a new row in the database and upload the cover art. Suddenly, I could see reviews on their own, sort by year, sort by rating, see it on nofi, see it on lofi, and soon this year see it on hifi. Suddenly, an RSS feed of entries was realistic.

This has all led to a golden age of quick and dirty music rambles. Not only am I psyched to have some more 2018 Cammy stuff knocking around my site (I'm still really gooey and precious about my old work, given how little of it I even have anymore), but I've started considering the possibility of eventually covering not just my entire music library of over 400 albums, but taking more requests, exploring more music, and having this gigantic, sprawling encyclopedia of music according to me around. Because it's such a simple concept, I've not really talked about my perspective with it, but I feel that's in order now that I've reached a hundred of the damn things.

What I'm actually rating here

Maybe it's easier to say what I'm not rating, firstly. I don't rate albums by how novel or important they are. You're not listening for historical significance, you're listening because it brings you satisfaction, usually pleasure, but also catharsis or intrigue, or maybe multiple of those. I also don't rate albums by how big and experimental a statement they are. Bands are great vehicles to masturbate in, but eventually, someone's gonna peek in your car, and I'm not rewarding someone driving with one hand.

Here's roughly the questions I'm trying to answer with each review:

1. How much did I like this album? (natch)
2. How well did the band succeed at making the album they were trying to make?
3. How much will fans of the style get out of this album?

I feel like people who are passionate about music use the word "bad" way too liberally. There are those who will say with no hint of irony that something not conforming to someone's concept of musical and lyrical quality doesn't make it bad, but will not extend that same courtesy to bands they hate. This is just a given, given that it's all someone's opinion anyway, but I do think that people still far too often judge music based on how cool it makes them look listening to it.

I'm a big believer in the John Peel philosophy of "if it didn't speak to somebody, it wouldn't have gotten made". It's probably funnier to just completely trash a record, but I only do that if it viscerally displeases me, and very rarely does a record actually do that. Otherwise, I only give it a middling score, because most albums have musical importance to someone, that someone just isn't me.

More honest music fans can recognize skill and quality work in even the most uncool, square, commercial places. People like to separate music out in these two worlds of "the underground" and "the surface", but culture hasn't worked like that in some time, if ever. Your childhood favorite indie musician recording in his parents' basement can get featured in a Lexus ad. The most experimental and weird bands were getting big label bucks in the 90s and 2000s to go and be "the next Nirvana", a hilarious notion applied to everyone from The Vines to Helmet to fucking King Missile. The 90s in general gave a lot of weird local favorites a quick spot of sunlight, and a lot of those bands went and peed on a major label's leg in the immediate aftermath. It was funny, and they aren't gonna miss the money anyway.

This is also why I don't call them "reviews" with the reviews themselves, even though that's what they are. I prefer the term "recommendations", because, although it's a bigger word, my goal is to focus on the albums that will appeal to someone who shares my particular tastes. Whether those tastes are too narrow to be useful or too wide-reaching to be useful (which has caused me grief in the past), that's up to you to decide. If I can turn anyone onto anything I like, I'm pleased.

How I write the reviews

Have you ever read a review from Pitchfork, and you forget it's supposed to be about the music and not how many other bands the author knows? Have you ever read a review on Sputnikmusic and the author literally goes track by track to tell you how much they like each song and why? I have. Too many times.

I keep my reviews to two paragraphs. The length of those paragraphs can differ, but nevertheless, I consider brevity a virtue and attention span a premium. Of course there's many, many things I can say about an album that I can't fit into two paragraphs, but the goal is to turn people onto stuff, not to write an essay. To that end, I try to keep comparisons to other bands to a minimum (that's lazy writing), and I try to be descriptive with what the album actually sounds like to listen to. I want someone to be able to get the gist of a record entirely from my written description, to appeal to a new listener through that description, while also having my opinion be apparent and entertaining, ideally.

If that sounds like a tall order—it can be. I'll sometimes have to sit with a review for a bit and play with it to make sure I like what I'm saying, and sometimes I spot things I could've worded better. I try to avoid editing reviews after I've done them, but it does happen and I'm not apologetic when I do.

How I pick albums

My selections are a little bit random right now. I have the stuff I'm really into, and of course it's easiest to write about albums I either know really well or are embedded in at the moment. I still try to shy away from really popular albums unless my opinion significantly differs from popular opinion on them, but as my focus changes from mere curations from my music library to covering everything I possibly can, it's inevitable that I'll be talking more about Nirvana, Pink Floyd, Aphex Twin, bands and artists people have actually heard of, and possibly agreeing with consensus.

I get the urge to do these deep dives into an artist's catalog sometimes, just because covering everything a band's made is satisfying to me in completeness. One of those two Neocities-era reviews that haven't been added to the database yet is R.E.M.'s debut EP Chronic Town, and that's because I'm actually holding it for when I cover R.E.M.'s music as a whole. Those take a bunch of time to do, and they're probably a bit repetitive to read, but I think it's definitely worth it.

The albums I'm covering right now err very much on the side of constant Great scores because I don't keep a lot of albums I don't like around (why would I). It probably makes it seem like I really like every album, but then I add some more Rediscoverings and the piles for Eh and Good fill up, and I'm happier with the balance. When I'm eventually covering more new finds than stuff in my library, I expect the scores to fall a little more unpredictably as well. Either way, I like music! It's not often something truly repulses me. I think I can still be critical of an album while still liking it—in fact, I think the people most aware of a work's flaws are its biggest supporters.

Where I'm going next with it

Speaking of Pink Floyd and Aphex Twin! I've recently been soliciting suggestions from people on Aftersleep, Worlio, in Discords, and of course here at home for albums to cover next in celebration of the big 100. Helps to break up the monotony for me and for you when it's not all just albums I know I love, yeah? I've got a nice, varied selection here, everything from Australian indie pop courtesy of Savannah to Elvis Costello courtesy of Caby to some Elliott Smith thanks to Davathan in Protoweb and a, uh, whole bunch of electronic shit I've never heard of thanks to bonkmaykr on Worlio (no idea where to start with any of that, but much appreciated!).

I've got plenty of interesting albums to talk about from my own playlists as well, though. There's a record from a guy named Josh Joplin that I was big into circa early 2020 on the list called Useful Music, and he's got this training in real classic American Songbook folk, and the album mixes in power pop and some really hilariously dated early 2000s adult alternative production (vaguely hip-hop-y drum loops!), it's a real fun one. I've been meaning to cover Music For Films, Brian Eno's second foray into ambient, all consisting of music cues intended for movies. There's some MP3.com bands still kicking around my Pandora! I've not even finished talking about all the classic Cammy bands like Failure, Silversun Pickups, Pixies, the Breeders, certainly Nirvana—no loss at all for what to cover.

The hardest part sometimes is just listening and then writing the thing. When I'm not inundated with Art Fight stuff between shifts at work, I'll hopefully get on it more consistently again. Less than two weeks left!

(Oh, and review #100 was One Part Lullaby by the Folk Implosion, before I forget.)

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Well, we're eleven days into July and I still haven't updated the journal yet this month! Literally all of my free time has been spent lately either writing album reviews (follow the RSS feed, I've got a run of one of day going!), working, and most importantly, participating in Art Fight! I've gotten four attacks done in eight days. One attack every two goddamn days. Here's some highlights:

It's been good, really! It's nice to get some more dynamic, character-driven art done, given how much of my time with art is spent working on site assets and sona drawings. These? It's fun coming up with a doofy idea for something based on their personality, experimenting with shading and textures and poses, and just putting a lot of thought into things. I don't want to take the easy way out and just draw someone's lad standing there and smiling, I want it to feel unique to each one! Thankfully, I'm pretty happy with both my own showing so far and the reaction I've gotten (including that Maldwyn ref getting spotlit on Sheezy, hot damn)—but we're not halfway through yet and I still got a lot more I wanna draw. Here's my profile if you wanna attack me or just peek in on what I'm up to. Hint hint.

I wouldn't say I'm overworked or anything (feeling pretty accomplished, really!), but I am definitely aiming to take it easier next year. I was drafting out a post for the end of the year Letters retrospectives at the register yesterday, based on a bunch of thoughts I've been having about the group and reflections on how the last six years have gone. We're a pretty unique group, and there's a lot about it and how we've attracted and repelled people that I haven't thought much about, let alone talked about. Expect that in December. I gotta get back to drawing my idols and hoping I can make mutuals out of a few of them.

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