Editing Silence (section)

==Uses==
===History===
[[Joseph Jordania]] has suggested that in [[social animals]] (including [[humans]]), silence can be a sign of danger. Many social animals produce seemingly haphazard sounds which are known as [[contact calls]].<ref>{{cite journal |last1=Macedonia |first1=Joseph M. |title=Individuality in a contact call of the ringtailed lemur (Lemur catta) |journal=American Journal of Primatology |date=1986 |volume=11 |issue=2 |pages=163–179 |doi=10.1002/ajp.1350110208|pmid=31979454 |s2cid=4839396 }}</ref> These are a mixture of various sounds, accompanying the group's everyday business (for example, [[foraging]], [[feeding]]), and they are used to maintain [[Sound|audio]] contact with the members of the group. Some social animal species communicate the signal of potential danger by stopping contact calls and freezing, without the use of [[alarm calls]], through silence. [[Charles Darwin]] wrote about this in relation with [[wild horse]] and cattle.<ref>{{cite book | title = [[The Descent of Man, and Selection in Relation to Sex|The Descent of Man]] | author = Charles Darwin |year = 2004 | publisher = Penguin Books. pg. 123 | location = London}}</ref> Jordania has further suggested that human [[humming]] could have been a contact method that early humans used to avoid silence.<ref>{{cite journal|last1=Jordania|first1= Joseph|date= 2009|title= Times to Fight and Times to Relax: Singing and Humming at the Beginnings of Human Evolutionary History|journal= Kadmos|volume= 1|pages= 272–277|doi= 10.32859/kadmos/1/252-276|s2cid= 162571333|url=http://www.josephjordania.com/files/57-Times-to-fight-and-times-to-relax-Kadmos.pdf|archive-url=https://web.archive.org/web/20181019165513/http://www.josephjordania.com/files/57-Times-to-fight-and-times-to-relax-Kadmos.pdf|url-status=usurped|archive-date=October 19, 2018}}</ref> According to his suggestion, humans find prolonged silence distressing (suggesting danger to them). This may help explain why lone humans in relative sonic isolation feel a sense of comfort from humming, whistling, talking to themselves, or having the TV or radio on.

===Spirituality===
{{see also|Monastic silence}}
[[File:Keep Silent sign, Key Gompa. Spiti. Himachal Pradesh. 2004.jpg|thumb|Keep Silent sign, [[Key Monastery]], [[Spiti]], [[Himachal Pradesh]]]]
"Silence" in spirituality is often a metaphor for inner stillness. A silent mind, freed from the onslaught of thoughts and thought patterns, is both a goal and an important step in spiritual development. Such "inner silence" is not about the absence of sound; instead, it is understood to bring one in contact with the divine, the ultimate reality, or one's own true self, one's divine nature.<ref>See Stephen Palmquist, [http://www.hkbu.edu.hk/~ppp/tp4 ''Ontology and the Wonder of Silence'', Part Four of The Tree of Philosophy] (Hong Kong: Philopsychy Press, 2000). See also "[http://www.hkbu.edu.hk/~ppp/srp/arts/SFPQ.htm Silence as the Ultimate Fulfillment of the Philosophical Quest]", ''Journal Hekmat Va Falsafeh'', (''Journal of Wisdom and Philosophy''), Issue 6 (August 2006), pp.67–76.</ref> Many religious traditions imply the importance of being quiet and still in mind and spirit for transformative and integral spiritual growth to occur. In Christianity, there is the silence of [[contemplative prayer]] such as [[centering prayer]] and [[Christian meditation]]; in Islam, there are the wisdom writings of the [[Sufis]] who insist on the importance of finding silence within. In [[Buddhism]], the descriptions of silence and allowing the mind to become silent are implied as a feature of spiritual [[Enlightenment in Buddhism|enlightenment]]. In Hinduism, including the teachings of [[Advaita Vedanta]] and the many paths of yoga, teachers insist on the importance of silence, ''[[Mauna (silence)|Mauna]]'', for inner growth. [[Ramana Maharshi|Ramana Maharishi]], a revered Hindu sage, said, "The only language able to express the whole truth is silence." Perkey Avot, the Jewish Sages guide for living, states that, "Tradition is a safety fence to Torah, tithing a safety fence to wealth, vows a safety fence for abstinence; a safety fence for wisdom&nbsp;... is silence." In some traditions of [[Quakerism]], communal silence is the usual context of worship meetings, in patient expectancy for the divine to speak in the heart and mind.<ref>Britain Yearly Meeting, "Quaker Faith and Practice"</ref><ref>[http://www.quakerweb.org.uk/qfp/ Third Edition, 2005 (?), sections 2.01, 2.12–17 etc., The Yearly Meeting of the Religious Society of Friends (Quakers) in Britain, London], {{ISBN|0-85245-375-2}} / {{ISBN|0-85245-374-4}}</ref> In the [[Baháʼí Faith]], [[Baha'u'llah]] said in "Words of Wisdom", "the essence of true safety is to observe silence".<ref>{{Cite book |last=Schaefer |first=Udo |url=https://books.google.com/books?id=3SvpjZAIBSwC&pg=PA333 |title=Bahá'í Ethics in Light of Scripture: Doctrinal fundamentals |date=2007 |publisher=Udo Schaefer |isbn=978-0-85398-505-1 |pages=333 |language=en}}</ref> [[Eckhart Tolle]] says that silence can be seen either as the absence of noise, or as the space in which sound exists, just as inner stillness can be seen as the absence of thought, or the space in which thoughts are perceived.

===Commemoration===
{{Main|Moment of silence}}
[[File:US_Army_51759_Soldiers_bow_their_heads_during_a_moment_of_silence_before_going_on_a_commemorative_march_on_Forward_Operating_Base_Warrior,_Kirkuk,_Iraq,_Sept._11._The_march_gave_Soldiers_the_opportunity_to_reflect.jpg|thumb|Soldiers bow their heads during a moment of silence before going on a commemorative march on ''[[Forward operating base|Forward Operating Base Warrior]]'', [[Kirkuk]], [[Iraq]], September 11. The march gave the opportunity to reflect on the [[September 11 attacks|tragedy that happened]] eight years prior.]]
A common way to remember a tragic incident and to remember the victims or casualties of such an event is a commemorative [[moment of silence]].<ref>{{Cite web |title=Definition of 'moment of silence' |url=https://www.merriam-webster.com/dictionary/moment+of+silence |access-date=2022-12-29 |website=Merriam-Webster Dictionary |language=en}}</ref>

===Debate===
Argumentative silence is the [[rhetoric]]al practice of saying nothing when an opponent in a [[debate]] expects something to be said. Poorly executed, it can be offensive, like refusing to answer a direct question. A well-timed silence can throw an opponent off and give the debater the upper hand.

An [[argument from silence]] ({{langx|la|argumentum ex silentio}}) is an argument based on the assumption that someone's silence on a matter suggests (an [[informal fallacy]]) that person's ignorance of the matter. In general, ''ex silentio'' refers to the claim that the absence of something demonstrates the proof of a proposition.


===Law===
The [[right to silence]] is a legal protection enjoyed by people undergoing police interrogation or trial in certain countries. The law is either explicit or recognized in many legal systems.<ref>{{Cite book |url=https://legal-dictionary.thefreedictionary.com/right+to+silence |title=Collins Dictionary of Law |publisher=The Free Dictionary |year=2006 |chapter=Right to silence}}</ref>

===Film===
The documentary film ''[[In Pursuit of Silence]]'' (2016) portrays the spiritual and physical benefits of silence, as well as the price paid individually and collectively for a noisy world.<ref name=HuffPost20160308/> It is narrated by authors Helen Lees (''Silence in Schools''), [[Pico Iyer]] (''The Art of Stillness''), [[Susan Cain]] (''[[Quiet: The Power of Introverts in a World That Can't Stop Talking|Quiet]]''), [[Martha Reeves (anchorite)|Maggie Ross]] (''Silence: A User's Guide''), and George Prochnik (''In Pursuit of Silence'').<ref name=HuffPost20160308>{{cite news |last1=McColman |first1=Carl |title=In Pursuit of Silence: A Quiet Movie With Much to Say |url=http://www.huffingtonpost.com/carl-mccolman/in-pursuit-of-silence-a-q_1_b_9396596.html |work=The Huffington Post|archive-url=https://web.archive.org/web/20160312171246/http://www.huffingtonpost.com/carl-mccolman/in-pursuit-of-silence-a-q_1_b_9396596.html |archive-date=March 12, 2016 |date=March 8, 2016 |url-status=live }}</ref>

===Music===
{{Main|Rest (music)}}
Music inherently depends on silence, in some form or another, to distinguish other periods of sound and allow [[Dynamics (music)|dynamics]], [[Melody|melodies]], and [[rhythm]]s to have greater impact. For example, most music scores feature ''[[rest (music)|rest]]s'', which denote periods of silence. In addition, silence in music can be seen as a time for [[contemplation]]. The audience feels the effects of the previous notes and melodies, and can intentionally reflect on what they have heard. Silence does not hinder musical excellence but can enhance the sounds of instruments and vocals within a given [[musical composition]].<ref>{{cite book |last1=Cox |first1=Christoph |last2=Warner |first2=Daniel  |year=2004 |title=Audio Culture: Readings in Modern Music}}:</ref>

In his book ''Sound and Silence'' (1970), the composer [[John Paynter (composer)|John Paynter]] says, "the dramatic effect of silence has long been appreciated by composers." He gives as an example "the general pause in the middle of the chorus 'Have lightnings and thunders …' in [[Johann Sebastian Bach|Bach]]'s ''[[St Matthew Passion|St. Matthew Passion]]''":<ref name="Paynter, J. 1970">{{cite book|author=Paynter, J.|author2=Aston, P.|name-list-style=amp |date=1970|title=Sound and Silence|publisher=Cambridge University Press|page=61}}</ref>[[File:Bach, "Sind Blitze, sind Donner" (chorus) from the St. Matthew Passion.wav|thumb|Bach, "Sind Blitze, sind Donner" (chorus) from the St. Matthew Passion.]]
[[File:Bach from St Matthew Passion.png|thumb|center|500px|"Sind Blitze, sind Donner" (chorus) from the ''St. Matthew Passion''.]]
After the pause, the music continues to the words: "Open up the fiery bottomless pit, O hell!" The silence is intended to communicate a momentary sensation of terror, of staring into unfathomable darkness. Another example of a dramatic silence comes in the "rest full of tension" <ref>{{Cite web|url=https://en.wikipedia.org/w/index.php?title=Messiah_Part_II&oldid=956967846|title=Messiah Part II|date=May 16, 2020|access-date=May 25, 2020|via=Wikipedia}}</ref> at the climactic ending of the [[Messiah Part II|''Hallelujah'' chorus]] in [[Handel]]'s [[Messiah (Handel)|''Messiah'']]:[[File:Handel, Hallelujah Chorus closing bars 01.wav|thumb|Handel, Hallelujah Chorus closing bars]][[File:Handel, Hallelujah Chorus closing bars.png|thumb|center|500px|Handel, Hallelujah Chorus closing bars]]

Musical silences may also convey humour. [[Haydn]]'s Quartet in E flat, Op. 33 was nicknamed "The Joke", because of the [[comic timing]] of the pauses at the end of the last movement: [[File:The closing bars of String Quartet in E flat, Op. 33 by Haydn.wav|thumb|The closing bars of String Quartet in E flat, Op. 33 by Haydn]]
[[File:Haydn op 33 No 2 ending.png|thumb|center|500px|The closing bars of String Quartet in E flat, Op. 33 by Haydn.]]
Taruskin (2010, p.&nbsp;552) says, "whenever this ending is performed, it takes the audience an extra second or so to recover its wits and realize that the piece is indeed over. The result is an inevitable giggle—the same giggle that overtakes a [[prestidigitator]]'s audience when it realizes that it has been 'had'."<ref>{{cite book|url=http://www.oxfordwesternmusic.com/|last=Taruskin|first= Richard|author-link=Richard Taruskin|date=2010|title=Spotlight On|work=The Oxford History of Western Music|volume= 2|publisher= Oxford University Press}}</ref>

Barry Cooper (2011, p.&nbsp;38) <ref>{{cite journal|last1=Cooper|first1=Barry|title= Beethoven's Uses of Silence|journal=The Musical Times|volume=  152|issue= 1914 |date=Spring 2011|pages=25–43 |jstor=23039954}}</ref> writes extensively of [[Beethoven]]'s many uses of silence for contemplation, for dramatic effect and especially for driving the rhythmic impetus of the music. He cites the start of the second movement of the [[Symphony No. 9 (Beethoven)|Ninth Symphony]], where the silences contribute to a powerful sense of propulsion: "The rhythm of bar 1 is incomplete and demands a note at the beginning of bar 2. The substitution of such a note by a whole-bar rest therefore gives the effect of a suppressed sound, as if one were about to speak but then refrains at the last moment. The 'suppressed sound' is then repeated in bar 4, and 'developed' (by being doubled) in bars 7 and 8."<ref name=":0" />  writes of the "strange irregularity of rhythm in the sixth bar" of this movement.<ref name=":0">{{cite book |last=Grove |first=G. |title=Beethoven and his Nine Symphonies |date=1898 |publisher=Novello. Reprinted by Dover (1962) |place=London |page=}}</ref>
[[File:The opening bars of the scherzo from Beethoven's ninth symphony.wav|thumb|The opening bars of the scherzo from Beethoven's ninth symphony]][[File:Beethoven 9 scherzo.png|thumb|center|500px|The opening bars of the ''[[scherzo]]'' from Beethoven's ninth symphony.]]
[[Robert Schumann]]'s song "Ich hab' im Traum geweinet" from his song cycle ''[[Dichterliebe]]'' uses silence to convey an almost [[Gothic fiction|gothic]] ambiance, suggesting the darkness of the grave where the dreaming poet imagines his lover has been placed: "I wept in my dreams, I dreamt you were lying in your grave." 
[[File:Schumann, "Ich hab' im Traum geweinet", from Dichterliebe.png|thumb|center|600px|Schumann, "Ich hab' im Traum geweinet", from ''Dichterliebe''.]]
In his book advising pianists and singers about interpretation, the pianist [[Gerald Moore]] stresses the need to fully observe the precisely notated [[Rest (music)|rests]], especially in the fourth bar above "where nothing is happening, that is to say nothing except a silence, a pregnant silence which, if shortened, dissipates the suffering it is intended to convey."<ref>Moore, G. (1981, .15) Poet's Love, the Songs and Cycles of Schumann.  London, Hamish Hamilton.</ref><ref>{{cite web | url=https://www.youtube.com/watch?v=AYcOI2sgMZI | title=Dichterliebe Op. 48: Ich hab im Traum geweinet - YouTube | website=[[YouTube]] | date=25 July 2015 }}</ref>

Much has been said about the [[Tristan chord|harmony]] of the opening to [[Wagner]]'s opera ''[[Tristan und Isolde]]'', which Taruskin (2010, p.&nbsp;540) calls "perhaps the most famous, surely the most commented-on, single phrase of music ever written."  His strategic use of silences between phrases intensifies the troubled ambiguity of the music: "The chord that fills the ensuing silence in the listener's inner ear… is the unstated – indeed never to be stated, and ultimately needless to be stated – tonic of that key."<ref>[[Richard Taruskin|Taruskin, Richard]] (2010) The Oxford History of Western Music, Volume 3. [[Oxford University Press]].</ref>
[[File:Tristan prelude bars 1-7 version for audio.wav|thumb|Wagner, Tristan Prelude, opening]][[File:Tristan opening.png|thumb|center|500px|Wagner, Prelude to ''Tristan and Isolde'', opening bars.<ref>{{cite web|url=https://www.youtube.com/watch?v=rAULLxcWSpM |archive-url=https://ghostarchive.org/varchive/youtube/20211212/rAULLxcWSpM| archive-date=2021-12-12 |url-status=live|title=[HD] Richard Wagner - Tristan Und Isolde - Prelude - Daniel Barenboim, Bayreuth Festival|last=Above the Mists|date=9 December 2012|via=YouTube}}{{cbignore}}</ref>]]
Some of the most effective musical silences are very short, lasting barely a fraction of a second. In the spirited and energetic finale of his [[Brahms Symphony No. 2|Symphony No. 2]], [[Brahms]] uses silences at several points to powerfully disrupt the rhythmic momentum that has been building. (See also [[syncopation]].) [[File:Brahms Symphony No. 2, finale, bars 135-142.wav|thumb|Brahms Symphony No. 2, finale, bars 135-142]][[File:Brahms Symphony No. 2 finale, bars 135-142.png|thumb|center|500px|Brahms Symphony No. 2 finale, bars 135-142]]

During the 20th century, composers explored further the expressive potential of silence in their music.<ref>Lossef, N. and Doctor, J. (eds.) (2007) ''Silence, Music, Silent Music''. London, Ashgate</ref> The contemplative concluding bars of Anton Webern's [[Symphony (Webern)|Symphony]]<ref>{{cite web|url=https://www.youtube.com/watch?v=JVrCpylDGS8&t=2m32s |archive-url=https://ghostarchive.org/varchive/youtube/20211212/JVrCpylDGS8| archive-date=2021-12-12 |url-status=live|title=Anton Webern: Simfonija op. 21., 2. stavak: Variationen|last=dorotea1997|date=26 November 2015|via=YouTube}}{{cbignore}}</ref> (1928) and [[Stravinsky]]'s ''[[Les Noces]]'' The Wedding, 1923)<ref>{{cite web|url=https://www.youtube.com/watch?v=gNBDJNHeZmo&t=24m05s |archive-url=https://ghostarchive.org/varchive/youtube/20211212/gNBDJNHeZmo| archive-date=2021-12-12 |url-status=live|title=Igor Stravinsky - Les Noces (1923)|last=Bartje Bartmans|date=1 August 2015|via=YouTube}}{{cbignore}}</ref> make telling and atmospheric use of pauses. Eric Walter White (1947, p.&nbsp;74) describes the ending of ''Les Noces'' as follows: "As the voices cease singing, pools of silence come flooding in between the measured strokes of the bell chord, and the music dies away in a miraculously fresh and radiant close."<ref>White, E. W. (1947) ''Stravinsky: a Critical Survey''.  London, John Lehmann.</ref>

[[John Paynter (composer)|John Paynter]] (1970, p.&nbsp;24) vividly conveys how silence contributes to the titanic impact of the third section<ref>{{cite web|url=https://www.youtube.com/watch?v=3f4qdJHatNM&t=12m20s |archive-url=https://ghostarchive.org/varchive/youtube/20211212/3f4qdJHatNM| archive-date=2021-12-12 |url-status=live|title=Messiaen - Et exspecto resurrectionem mortuorum|last=orangejamtw|date=16 October 2011|via=YouTube}}{{cbignore}}</ref> of [[Messiaen]]'s orchestral work ''[[Et exspecto resurrectionem mortuorum]]'' (1964):<blockquote>Woodwinds jump, growl and shriek. Silence. Eight solemn bell strokes echo and die. Again silence. Suddenly the brasses blare, and out of the trombones' awesome processional grows a steady roar … the big gongs the tam-tam beaten in a long and powerful resonance, shattering and echoing across mountains and along valleys. This is music of the high hills, music for vast spaces: 'The hour is coming when the dead will hear the voice of the Son of God'. We can feel the awe and the majesty of the High Alps and the great churches. The instrumental sounds are vast the silences are deep. The words of St John are alive in the music, and through these sounds Messiaen reveals himself and his vision.<ref name="Paynter, J. 1970" /></blockquote>An extreme example from 1952 is ''[[4′33″]]'', an [[experimental music]]al work by [[avant-garde composer]] [[John Cage]], incorporating ambient sounds not foreseeable by the composer. Though first performed on the [[piano]], the piece was composed for any instrument or instruments and is structured in three [[movement (music)|movement]]s. The length of each movement is not fixed by the composer, but the total length of the combination of three movements is. The score instructs the performer(s) to remain silent throughout the piece.<ref>{{cite web|url=https://www.youtube.com/watch?v=JTEFKFiXSx4 |archive-url=https://ghostarchive.org/varchive/youtube/20211212/JTEFKFiXSx4| archive-date=2021-12-12 |url-status=live|title=John Cage's 4'33|last=Joel Hochberg|date=15 December 2010|via=YouTube}}{{cbignore}}</ref><ref>Cage, J.(1952),  4'33", Published by Edition Peters (PE.P06777)</ref>

There are telling examples of the use of silence in [[jazz]]. A frequently used effect, known as "[[stop-time]]", places silences at moments where listeners or dancers might expect a strong beat, contributing to the [[syncopation]]. [[Scott Joplin]]'s ''[[The Ragtime Dance|Rag-Time Dance]]'' (1902) features stop-time silences: [[File:Scott Joplin, from the Rag-Time Dance.wav|thumb|Scott Joplin, from the ''Rag-Time Dance'' (1902)]]
[[File:Rag-Time Dance.png|thumb|center|500px|Scott Joplin, ''Rag-Time Dance'' (1902)]]

Early recordings<ref>{{cite web|url=https://www.youtube.com/watch?v=unGmMmD8kPQ&t=2m13s |archive-url=https://ghostarchive.org/varchive/youtube/20211212/unGmMmD8kPQ| archive-date=2021-12-12 |url-status=live|title=The Ragtime Dance - SCOTT JOPLIN (1906)|last=RagtimeDorianHenry|date=27 June 2009|via=YouTube}}{{cbignore}}</ref> of the ''Rag Time Dance'' follow Joplin's instructions as follows: "To get the desired effect of 'Stop Time', the pianist will please stamp the heel of one foot heavily upon the floor."<ref>Joplin, S. (1971) ''Collected Piano Works: Rags, Waltzes and Marches''. New York Public Library.</ref> Later recordings<ref>{{cite web|url=https://www.youtube.com/watch?v=ImJ1jqLYfGk&t=7m22s|title=YouTube|website=www.youtube.com}}</ref> disregard this direction – the regular beat is implied rather than stated and the silences are more palpable. Keith Swanwick (1979, p.&nbsp;70) is enchanted by the "playfulness and humour" engendered by the stop-time effects in [[Jelly Roll Morton]]'s solo piano recording of ''The Crave'' (1939):<ref>{{cite web|url=https://www.youtube.com/watch?v=8k8QokoPPrU&t=1m24s |archive-url=https://ghostarchive.org/varchive/youtube/20211212/8k8QokoPPrU| archive-date=2021-12-12 |url-status=live|title=THE CRAVE by Jelly Roll Morton - NEW ORLEANS MEMORIES 1939|last=cdbpdx|date=5 December 2011|via=YouTube}}{{cbignore}}</ref> "If we listen to this, tapping or clicking along with the beat, we shalt find ourselves surprised by two patches of silence near the end. The beat goes on but the sound stops. The effect is something like being thrown forward when a car stops suddenly. It is the biggest surprise in an engaging piece of music full of little deviations ([[syncopation]]s) from the repeated beat."<ref>Swanwick, K. (1979) A Basis for Music Education.  London, Routledge.</ref>

Other examples include the closing bars of [[Louis Armstrong]]'s recording of ''Struttin' with Some Barbecue'' (1928)<ref>{{cite web|url=https://www.youtube.com/watch?v=yl-2R_Pb7dk&t=2m46s |archive-url=https://ghostarchive.org/varchive/youtube/20211212/yl-2R_Pb7dk| archive-date=2021-12-12 |url-status=live|title=Louis Armstrong - Struttin' With Some Barbecue|last=Praguedive|date=20 June 2009|via=YouTube}}{{cbignore}}</ref> and the hair's-breadth pause at the end of pianist [[Bill Evans]]' solo on [[Miles Davis]]' recording of [[On Green Dolphin Street (song)|''On Green Dolphin Street'']] (1959).<ref>{{cite web|url=https://www.youtube.com/watch?v=xGVdAlxlp18&t=8m20s |archive-url=https://ghostarchive.org/varchive/youtube/20211212/xGVdAlxlp18| archive-date=2021-12-12 |url-status=live|title=Miles Davis - On Green Dolphin Street (Audio)|last=MilesDavisVEVO|date=14 May 2013|via=YouTube}}{{cbignore}}</ref> [[Duke Ellington]]'s "Madness in Great Ones", from his Shakespearean Suite ''[[Such Sweet Thunder]]'' (1957)<ref>{{cite web|url=https://www.youtube.com/watch?v=lhpqIMor2P8 |archive-url=https://ghostarchive.org/varchive/youtube/20211212/lhpqIMor2P8| archive-date=2021-12-12 |url-status=live|title=Duke Ellington - Such Sweet Thunder - Madness in Great Ones.|last=bill K|date=21 October 2011|via=YouTube}}{{cbignore}}</ref> conveys the feigned madness of [[Prince Hamlet]] through abrupt and unpredictable pauses that interrupt the flow of the music. The [[reggae]] band [[Black Slate]] had a hit in 1980 with the song ''Amigo''. The instrumental introduction features sudden silences before the voice [https://www.youtube.com/watch?v=pd4-OCOSTC8 enters].