The Grammy awards are arguably the most main stream music event on the face of the planet. The sheer money that goes into it with major label contributions and overblown performances by overblown pop stars who instead of singing live and or playing an instrument choose to haphazardly dance around like dummipies is mind-blowing. I would love to continue this rant as it has been brewing for the last couple years, but I can’t. For the last three years I’ve attended The Grammys live from the Staples Center here in LA and last night was just special.
After having attended many of the rehearsals in the days leading up to the show I found myself in awe of talents young and old. It’s one thing to see this stuff on TV but live its something different. Music fans know exactly what I’m talking about. I was able to duck in and see the legendary Tony Bennett sing with Carrie Underwood, Rihanna sing with Chris Martin and Coldplay and Sir Paul McCartney himself backed by the one and only Joe Walsh and Diana Krall. All of this just in time to make my way outside in time to catch Foo Fighters and Deadmau5 rehearsing in the club tent. Music lovers I know that was a pretty big brag on my part, but it was a serious day of music.
Day of show is busy. The Red Carpet opens some 5 hours before the show and most of the awards are handed out during the pre-telecast. 16,000 people give or take attend the show which is just ridiculous. Skirllex cleaned up this year in the dance music categories and Foo Fighter’s and Adele cleaned house in the rock and pop categories respectively. I could sit here all night and debate who should have won what, but that’s boring. From here on out it’s all about the music. Please excuse my shitty cell phone pictures/ video, but I wasn’t supposed to take most of these so bare with me.
The show opened with Bruce Springsteen and the E Street Band. They played a new tune called “We Take Care of Our Own” from their upcoming record “Wrecking Ball” setting the tone for an incredible night of music. It was an appropriate song seeing as how the music community had come out just the night before in droves to support, mourn and honor the life of Whitney Houston. LL Cool J hosted the show this year… that’s all I have to say about that.
My night started when Rihanna took the stage. She is really hott. She sang her song and danced her dance. It was entertaining to say the least. What I was really waiting for was her duet to follow her performance with Chris MArtin from Coldplay on his song “Princess of China.” Dimly lit center stage I knew it was about to get good. After the duet Coldplay’s full stage setup was revealed as they tore into their recent hit single “Paradise”.
The lights were incredible and the energy in the room was electric as each audience member held up their own light up bracelet synced to the music. I love Coldplay. They take a lot of flack, but they are amazing performers and their stage setup was insanely cool.
After Coldplay I was in awe, but also needed to move quickly to secure a seat on the other side of the venue for the biggest performance in my eyes, The Beach Boys. Living in Southern California, The Beach Boys are by default the soundtrack to summer here. I have been brought up listening to their countless hits. Hearing that the rest of the band was reuniting with Brian Wilson (one of my all time idols, accept for that couple years he locked himself in his house with a bunch of god damn hippies and animals) was just incredible and I was not about to miss this big moment in music history.
The medley of tunes opened with Maroon 5 performing a rendition of “Surfer Girl”… yawn. New comers Foster The People picked up the pace with “Wouldn’t It Be Nice”. They were really great. Marc Foster has that tenor voice so synonymous with The Beach Boys.
After a brief intro from Ryan Seacrest the legendary Beach Boys took the stage. Brian sat dead center at his keyboard. Comatose as he looked I think I saw a smile in there somewhere. He was flanked by his former and now new bandmates as they tore through the classic “Good Vibrations.”
For me, I wasn’t sure if that moment could be topped and then I made my way outside to the dance tent for Foo Fighters.
DAMN IT NOTE: I just realized I skipped over Adele’s performance. She is absolutely unmatched as far as vocal power and sheer amazing singing ability. Her performance will no doubt go down in history and her big winning night will go down in the record books. Her performance of “Rolling In The Deep” brought the house down. Is that enough? Yes? Ok, now on to Foo Fighters and Deadmau5.
The Foo Fighters took the stage in front of a crowd of about 1000. A small dance tent had been set up to accommodate the most underrated party of the weekend. Without wasting any time/ without waiting for the cue from the TV folks Dave and his band ripped through “Panama” by Van Halen, “Breakdown” by Tom Petty and their own “Times Like These”. Hidden partially behind a curtain it was weird to hear and not be able to see but it was unreal none the less. In the middle of “Times Like These” the Foos were forced to stop in lew of TV timing. As they were being hushed Dave Grohl teased the stage manager revving the crowd by sticking his head out from behind the curtain and starting the riff to “Everlong”. With ten seconds to live the whole band ripped into “Everlong” sending the crowd into a frenzy and pissing off the stage manager. Awesome.
Remember when I said The Beach Boys could not be topped? Yea I lied. Foo Fighters ripped into their new track “Rope” with the drop of the curtain.
At the end of “Rope” another curtain dropped revealing DJ Deadmau5 who began spinning a “Rope Remix” with the Foo Fighters playing along. My mind was melted and I left it on the floor.
I made my way back to my office at LA live on the highest of highs. I got a text from a co-worker who had just got confirmation that not only had McCartney changed his setlist from a new song to the Abbey Road Medley to close the show he also invited a few friends on stage. Fittingly McCartney took the stage and started “Golden Slumbers” and was joined with rock royalty, Joe Walsh, Bruce Springsteen and Dave Grohl. Trading righteous solos and giving the 2012 Grammys the send off it deserved the guitar gods left the crowd wanting more.
From top to bottom, from classic rock to pop country, from Nikki Minaj to a pile of crap. This was a night of real music. Not once did I hear lip syncing. Yes there were the massive fluffy pop acts. Katy Perry was incredible, Taylor Swift was enjoyable to look at and Nikki Minaj was fucking terrible, but thats ok. I had a blast. It was a music fans night. I think those who were there and those who saw it on TV can agree.
I just spent the last 24 hours of my life sulking like a spoiled rich kid who didn’t get what he asked for for Christmas. Let’s call it a Superbowl slump. I spent the last hour watching the new TV show “Smash”. If you have a sarcasm radar please use it now because it was… great. As you can deduct from my lack of a hook to draw you into this weeks blog post I needed something with almighty strength to pull me out of this funk. While most were watching the Superbowl Sunday evening this band was playing their asses off, I’m sure, at The Bootleg’s 2 dollar Sunday night show. I may or may not be the first person to introduce you to Alex Casnoff or his new band Harriet, but I am extremely excited about this music. Last week I had the pleasure of attending their record release show at Harvard and Stone in LA. This is my first live review for this site and if I keep stumbling on bands like Harriet it won’t be my last.
Cigarette smoke wafts down the back patio steps toward a small dimly lit stage. Skinny jeans and ironic mustaches out in full force. Aggressive pleather. The place was packed. It’s 11:42 on a Thursday night in LA. Let the music begin.
I hope that painted a pretty good picture. I’ve never been one for dramatic flare nor do I usually give a shit. As I stood there waiting for Harriet to start their set listening to “Maybelline” by Chuck Berry I looked around. There was not one empty space in the whole bar. It wasn’t a small place by any means either. I was really surprised. These guys had barely just released their first EP of 5 tunes and they had that place hopping. Then they opened with “Don’t Fight The Feeling” and it all made sense. They were good, real good.
Before I get into the other tracks on the EP I want to make known, the kid can sing. I say ‘the kid’ as if I’m old, which I’m not, it just sounds cooler in writing so deal with it. Fucking incredible vocals. It’s appropriate to the music and sounds perfectly like the recordings which is much easier said than done.
After the first few songs it had become annoyingly cozy up near the front/ bar area. If I have one bone to pick it is that the place was too crowded (good thing) and too many assholes were talking or trying to talk over the band (bad thing). As the band moved through their short set it made it easier and easier to tune out the drone of the LA hipster elite. That song I just posted, Soldier, wasn’t an initial stand out for me on the EP compared to a couple of the other tunes, but man did they kill it live. After the band played a couple songs I didn’t recognize they dug right back into the EP. They ended the show with my two favorite tracks from the EP called “Send Em” and “I Slept With All Your Mothers”. I wish they had opened with “I Slept With”. It’s a perfect opening to the EP, but I can understand why it comes last. I can’t help, but wonder what that song is about or how it came to be. The song “Send Em” is strong, powerful and pretty much rocked my head off.
Alex Casnoff is formerly of the band Dawes, you may have heard of them. I saved this part for the end because, to me, it’s not important. Harriet stands on its own two feet with this first EP. The songs are well written, the music is solid and the band as a whole is tight. I had a blast and I also gained the courage to submit a patent for a ‘hipster muzzle’ for obvious reasons. Good news for me is they are playing a few more shows around LA as they hopefully get ready to hit the road. Here’s a link to their shows page if you are interested. If you’re not your dumb, just saying. This band is the real deal and I want to thank them for inviting me out to their show. Their PR people thought I would “dig” it but little did they know I was already listening to this last song as I saw the e-mail drop into my inbox. It’s bands like this that keep people like me excited about new music.
After the band played for about 35 minutes ending with that last song they started to clean up their equipment and thank the crowd. With the crowd chanting for an encore Alex had one simple reply, “If we had another.” I can’t wait to hear another very, very soon.
The big news is that Gotye’s highly anticipated Making Mirrors album released in the US today. The album is packed with great songs, but also amazing sounds and musical intricacies that you will not find on other pop releases. The single “Somebody That I Used to Know” has already jumped up The Billboard Hot 100 and continues to rise on the charts each week. The creativity inside Making Mirrors is unmatched, and it’s no wonder that Gotye’s art inspires others to create as well. That’s why it gives me great pleasure to present the 4FRNT remix of “Somebody That I Used to Know” (Feat. Kimbra).
How sick is that! Don’t be fooled by imitators because the 4FRNT production team has already crafted the dirtiest drops for this track. Composed of Lucian Piane, Ronald Lee Entwistle, and Jonathan Castelli, 4FRNT does their incredible mixing work in the sunshine of Los Angeles, CA. I have a feeling that you’ll be hearing a lot more from these guys in the near future. The remix is blowing up on youtube and Gotye’s album is being gobbled up by everyone who comes in contact with it. It’s all for good reason because Gotye is his own singer, songwriter, and producer. In my opinion, what this guy has done with Making Mirrors is truly art for your ears. Influenced by sounds, different art forms, and life in Australia, Gotye has created something beautiful with this record, and you’d be surprised to get inside his brain on it’s creation.
You can listen to Making Mirrors in it’s entirety on Gotye’s Soundcloud channel. Don’t forget to spread the love and share this article and remix with your friends! For tour dates and more information on Gotye, check out gotye.com.
By Steve Harpine | Nashville Ambassador | @Steve_MWL | Beat-Play & Music Without Labels, LLC.
I try to keep my blogs as fresh as possible and keep the music as current and local as possible. I have written about my friend once before on this blog and now that he has released his first full length record I must write about him again. I’m a fan, simple as that and it’s hard to ignore the talent you are about to listen to. I got a message this morning from Samuel Tucker Young with the following songs attached. You will all know him as Timberwolf very very soon.
That song might seem familiar/ is very familiar to me. It’s the track that first peaked my interest in Timberwolf and his guitar work last year. The link to that old article is HERE. The songs I originally heard were demos, good demos. And now I am sitting hear listening to a clean well composed and produced record. As I said in the previous article I have known Sam for some years now, his music blows me away. It really has nothing to do with the fact that we are friends. There’s something about it. Its fun, creative, complex and honest. We have talked at length about new music and music we love and like all music lovers we use the influences of the music around us that we love to create our own or at least be inspired. He just does it a little better than most.
Born and raised in Nashville, TN Sam’s humble beginnings in a music oriented family is obviously something he has embraced. He doesn’t shy away from his southern roots. The love and love lost story weaving its way through this record is a tale we have all heard before but I mean, come on, the voice and the guitar work? This dude must clean house when it comes to the ladies. I can’t mention the guitar work without mentioning the auxiliary string section. I think strings do this kind of music justice. I think even Sam himself may have been impressed with how much he actually utilized them. It was a great creative decision that helps elevate this music. At points it’s gentle and internal and then in songs like “Winchester” which we just heard it’s very aggressive and loud. The dynamic range is impeccable throughout this album.
It’s music like this that makes me happy I live where I live and I know the people I do. The opportunity to hear this music before a majority of people and the ability to bring it to you via this forum is just fucking cool. LA is a hot spot right now for creative original folk music or indie folk if you will. I think Timberwolf is ready to pave his path through the LA music scene and beyond. He has been and will continue to play throughout the greater Los Angeles area. I’m going to ask you, and you’re going to say yes because the music is awesome, to please help me spread the word. I can write this blog and you can read it, but man it would be a shame if we were the only people to hear this stuff. So let’s make this music known. Cool? Cool…
I was going to end this blog on the last note, before I got into posting the last song as I always do. I forgot to mention where you can hear “Timberwolf” in its entirety. You can stream all of the songs HERE. I don’t know what Sam’s plans are for a release and sale, but this is the kind of music I like to support. Let’s launch this extremely promising career together so I can take all of the credit… kidding. I’m pretty sure Sam’s favorite movie is Eternal Sunshine of the Spotless Mind so the title of the last track makes perfect sense. Please enjoy Timberwolf. Here is the last track, “Eternal Sunshine”.
Wanna hear the best of independent pop music out there? Then you won’t have to go any further because One Love it’s right here lookin’ at you. One Love is a solo artist from Long Island, New York that doesn’t just make good music, but has a mission behind it all. “One Love isn’t just a name”, boasts Adam, “It’s an idea, not just for me, for everyone. I didn’t start One Love, the idea, I wanted to start One Love, the movement.” As you can see, it’s more than a song and more than just an artist on a stage or on a record. His music started to take flight a couple years ago when One Love (Adam Scott) collaborated with producer Jonathan Castelli in the studio. Adam’s musicianship and talent was a great fit for Castelli’s gift as a producer, and they soon enough gave life to a couple original songs.
I know that a lot of people are tired of top 40 pop simply because of the same old song and dance that continues to rule the airwaves. Well, what if there was a message behind a new breed of popular, catchy tunes? Adam Scott has brought meaning to a realm where a lot of people fail to find anything significant except for break-up songs and hook-up songs. One Love is not just a brand or stage name for a singer, but a movement and a lifestyle. You won’t see a day or week pass by that One Love doesn’t spread his joy for life. His extroverted personality, big heart, and beyond hook-filled pop songs will drive his message to another level. Check out the EPK for his new EP that just released in April 2011.
The One Love EP contains six original songs and I can tell you that it won’t be long before you can’t get this stuff out of your head. His influences include some true greats such as Jeff Buckley, Steven Tyler, Billy Joel, The Beatles, and One Republic. The EP continues to demonstrate the creative bond between Scott and Castelli that was created with the first two songs years ago. I’m sure Adam will agree with me that all “lovers” out there should get it and share it with your lover friends, ha. If you like what you hear, check out the One Love Facebook Page and become apart of the movement that is One Love.
By Steve Harpine | Nashville Ambassador | @Steve_MWL | Beat-Play & Music Without Labels, LLC
So I’m sitting here looking over concert calendars and deciding what kind of dough I should spend to see what or at least see what’s free because let’s face it we’re all broke. I just finished looking at January which only has 11 days or so left in it but still there isn’t much. I’m thinking all the indie rock bands are still hibernating or something. On to February. There’s a Milo Greene residency coming up, but I’ve already written about them and then, BOOM. I have written about and love The Satellite club here in LA. Recently a band played there called Voxhaul Broadcast and they are booked for the March residency at the Satellite after Milo Greene’s February residency. Needless to say I’m excited. Voxhaul just performed to rave reviews on the 11th of this month which prompted me to buy their most recent release called “Timing Is Everything”. If the title of this record is true, then it’s… true. I tried to come up with something witty and funny there but obviously effed it up. Tunes.
Am I right? It’s great stuff here people. Cool vocals and fun guitars. It’s what I’m all about and the fact that these guys are playing local shows and haven’t quite branched out yet baffles me. But for now they can be our own little secret. The way the residencies work at the Satellite is bands play for FREE on Monday nights in a month and then at the end of the month they can’t keep people out and the band becomes successful. (Man I wish it was that easy) Now I know that sounded really general and almost a jinx of some sort, but these guys are really great because what most people forget to mention is in order to be a successful rock band you have to have at least an once of talent and these guys do. Recent residencies gone awesome are Local Natives and Fitz and the Tantrums. I think these guys have the chops to wow audiences and become a viable source for great new LA based music. Tunes.
David Dennis shines on vocals and guitar with Anthony Aguiar supplementing on guitar and keys. Phillip Munsey II (how proper) laying down the sweet bass licks and Kurt Allen holding everything together on the drum kit. They have a great four piece sound and on this record it really sounds like more than just four dudes. It’s cool music. On of my favorite tunes aside from the two I posted above is called “Cheetah”. It’s fast pop punk rock. Fun melodies and catchy lyrics. This is what these guys seem to be all about and after each track I find myself itching for the next.
“Timing Is Everything” is a full 13 track offering from Voxhaul Broadcast. It’s available now on itunes. Do yourself a flavor and grab it fast. The Satellite residency starts in March and honestly it’s one of the best things to do in LA or actually anywhere in the world. Who doesn’t like to get elegantly wasted on a Monday night and hear great up and coming bands before you have to pay 35 bucks to see them at the Music Box (here’s lookin’ at you Fitz). Here’s a link to Voxhaul’s webpage where you can spend all your time from now on. Lastly before my fingers start hurting from typing this way to fast, the last tune from “Timing Is Everything”. Enjoy this band and enjoy local music before other people can so you can say, “Yea I remember when they were playing free shows in LA and I had my pleather jacket with a hoodie on I got from Urban and like it was awesome oh wait or was it flannel? I don’t know man but that band rocked” (sorry about that, what a stupid sentence.)
What’s up party people? Last week I tried to post this blog, but quickly realized I’m a complete idiot and I don’t know how to properly use a computer so this week I bring you Capital Cities. Los Angeles based electro pop at its finest. Ryan Merchant and Sebu Simonian have joined forces to release the EP under their own moniker Capital Cities and the song “Safe and Sound” is about to blow the roof off every hipster joint on the planet.
The band formed in 2010 stemming from a craigslist add placed by Merchant. Together with his collaborator Simonian Capital Cities made their debut in 2011 to great critical acclaim. Aside from making waves here in LA they have toured successfully on the east coast and in South America. Their 5 track EP is what you would expect from a duo that touts themselves as Electro Pop Rock Dance.
I’m definitely a fan of these guys and since they are LA locals they play around here a lot. Catchy pop hooks and inventive melodies make it easy to listen and get into their music. It’s one thing to be able to manipulate a synth, but the vocals are really great. I won’t be surprised to see these guys touring in a big way in the next year or so and hopefully we get to hear a full length record some time soon. For those of you in LA check them out at the world famous Viper Room on January 30th. Here’s a link to their facebook page so you can be nice and like them as well and in return you can download SAFE AND SOUND for FREE. The last track from their self titled EP is called “Love Away”. You can download the EP for 5 bucks HERE. Buy it or I’ll find you, even though I really won’t.
Happy belated Holidays you scalawags. It’s been a bit since I posted, but I’ve been waiting to kick 2012 of right. The band is called Snake Wagon. They make country-gospel-comedy music or “gostrymedy” for short. Don’t even think about stealing that shit, it’s copy written. I was trying to find out more about this band to make this post less boring than my normal jibber jab when I came across the list of band members.
Thomas Jefferson: lead vocals, guitar
Benjamin Franklin: bass, vocals
Abigail Adams: saxophone, clarinet, vocals
Martin Van Buren: piano, pump organ, fiddle
Aaron Burr: drums
Alexander Hamilton: electric guitar
James Madison: vocals
Betsy Ross: vocals
Peter Gammons: commentary
with special thanks : Rolf
What the hell is going on? I’m going to do my best to sort this all out. Something tells me this list is either true or too good to be true. This is Snake Wagon now let’s have fun…with Snake Wagon.
It’s a little bit country. It’s funny. It’s kind of a mess, but I love it. It’s fun and definitely doesn’t take itself seriously at all. Now for those of you who are 100% confused as to who these guys actually are I think you’ll be delightfully surprised to hear that the Barr Brothers and The Low Anthem have teamed up to create this monster of a record… I think. The folky vibe mixed with simplicity and comedy actually has great song writing and some great musical efforts. And the sing about the Red Sox and dig on the boston music scene where the Barr Brothers originated. This ridiculous song is a gem and oh so true.
I searched the bands facebook page HERE. And discovered how these geniuses came together with the help of some of histories greatest minds.
After nearly three decades of playing the Youngstown circuit, Providence, Rhode Island’s folk outfit The Low Anthem discovered Snake Wagon in a rest-stop 57 miles outside Columbus, where Snake Wagon was amidst their four-year residency at that rest-stop’s Tim Hortons – Snake Wagon
The Low Anthem proceeded to invite Snake Wagon to their studio, a 40,000 square foot abandoned pasta sauce factory outside Providence. It was Snake Wagon’s first time outside of Ohio and their first time in a proper recording facility. In a creative rage, Mr. Jefferson locked the doors to the pasta sauce factory, holding the Low Anthem, their friends The Barr Brothers, and producer/engineer Jesse Lauter hostage and at gunpoint, forcing them all to record ten of his crowning works in a matter of 48 hours.
- Snake Wagon
So there you have it kids. This is how the band/ this record came to be. This tongue and cheek masterpiece is fantasically fun. There are great stories and tidbits strewn all over this record. Other favorite songs include “Dirty Crustacean” and “Those Lesbian Blues” the latter for the hilarious song title alone. Another great tune is called “You Had To Be There Talkin’ Blues”. It’s in the vein of the great rockabilly artists of yesteryear or a cracked out loose lipped Johnny Cash if he had the voice of a teenager experiencing puberty. I’ll post this because at this point I don’t even know what’s true and what’s not anymore.
Here’s the good news in this mess of confusion, you can pay what you want for this CD. I paid a few bucks and trust me its worth it for the laugh alone. On top of that the musicianship of The Barr Brothers and The Low Anthem shines. I sort of wish I was there when they were making this record at gun point. Sounds like a blast. Listen to the lyrics and do yourself a favor and pay a couple bucks for this full length HERE. If I find out anything more about this band I’ll definitely keep you posted, but I have no idea what the hell’s going on. Enjoy the last track from “Have Fun With Snake Wagon”. It’s called “Oh, Lolita” about a guy in an unmarked van who lures a girl in and loves her even though she is only 17 and tells him she is 23.
When you think about electronic music shows, you think about big clubs in Los Angeles or hidden venues in New York. Rarely do you ever hear about electronic music in Nashville. In the summer of 2009, I worked in LA for an independent electronic record label that managed recordings for trance master Paul Oakenfold and Steve Aoki, among others. I got a pass to attend Electric Daisy Carnival, and I couldn’t believe the magnitude of the astounding electronic music mecca. That summer was my first major experience with the genre, and it’s amazing to see how much it’s grown, even in the last few years. Just over a year later, I attended one of the biggest electronic shows in Nashville during the Fall of 2011. Bassnectar.
Bassnectar sold out Limelight 4 times over, forcing the venue to move the show to the parking lot, where 5000 bassheads joined for one of the greatest electronic events that has ever stepped foot in Music City. I was in the front row, getting my brain melted just to the right of the stage left subs. It was so incredible that Bassnectar decided to return this year… for the biggest, baddest New Years Eve show that Nashville has ever seen! What’s even more amazing is that they are “bringing the largest, thickest soundsystem ever assembled in The Bridgestone Arena.” This show isn’t going to be big, it’s going to be the biggest, bassiest event ever held in Tennessee. Too bad tickets are SOLD OUT.
Well I guess the article is all down hill from here, right? Wrong! That’s because Bassnectar just released just released a killer album, about four years after the release of Underground Communication (2007) and two years after Cozza Frenzy (2009). The new 2011 record is titled Divergent Spectrum. It’s an insane mix of originals and remixes. One thing is for certain; the bass is wobbly and the beats are heavy. The album features sick remixes like “Lights” by Ellie Goulding and original masterpieces like “The Matrix.” This is Lorin Ashton’s (Bassnectar’s) eighth full-length album, but he turns out new music in some form every year. As a unique and talented DJ, producer, and remixer, Lorin continues to collaborate with other artists and producers such as KRS-One, Buckethead, Gogol Bordello, Diplo, DJ Vadim, and Rjd2. Check out his remix of Ellie Goulding’s “Lights.”
His explosion into the festival scene and heavy touring schedule has brought thousands of new fans to his shows. Although the wobbles, and bass-heavy beats are filthy, the sense of community around the music is essentially just as important to Lorin. He continues to promote social and political causes with his work. I think this is always great to hear in electronic music, and it’s what makes Bassnectar a significant artist. Many DJs produce music for the sake of getting people to dance, and rarely do they add actual meaning to their music. Lorin does a great job of incorporating his thoughts into the music, even though many of his songs are driven by electronic instrumentals. This is something all artists should do because it allows people to support something besides a good time between some speakers. So, what’s the moral of the story?
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