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Indian E-music – The right mix of Indian Vibes… » 2017 » November


Nabihah Iqbal: Weighing of the Heart review – nostalgic, sweet pop and pristine beats

Delivered... Rachel Aroesti | Scene | Thu 30 Nov 2017 11:30 pm

(Ninja Tune)

For the last few years, Nabihah Iqbal has been confecting bright and airy electronica as producer Throwing Shade. For her debut album, she bursts out from between the synths with a warm and fuzzy vocal-led collection of tracks that nod to both New Order-ish post-punk and the intimate dream pop of the early 90s. The record also recalls fellow Londoners Real Lies, whose layering of street-lamp lit synths and gutter/stars portraits of the city echo in tracks like Zone 1 to 6000. The latter is just one of the highlights of an album that weaves sweet pop melodies and strange, scuttling beats together into something that feels both nostalgic and recklessly new. It’s all done with a precision and neatness that betrays Iqbal’s dance music roots, with each moment providing an aesthetic delight, from the medley of drumbeats that opens Eternal Passion to the liquid gold guitars that frequently surface.

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THE SUNDANCE LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Thu 30 Nov 2017 7:00 pm
Get ready for the big convergence in Park City this winter with a full run down of the festival and the films that are showing!

THE NOISE POP PHASE TWO LINEUP IS OUT!

Delivered... Spacelab - Independent Music and Media | Scene | Thu 30 Nov 2017 7:00 pm
Built to Spill, Waxahatchee, The Album Leaf, Dengue Fever, The Coathangers, Shamir, Alex Cameron, Miya Folick and more have been added!

The amazing classic synth and experimental moments on children’s TV

Delivered... Peter Kirn | Scene | Thu 30 Nov 2017 5:51 pm

Before it reverted to Internet age-blandness, American kids’ TV enjoyed a golden age of music, scored by oddball indie composers and legends alike.

And, wow, it could even teach you about synthesis.

Perhaps the most famous of thesse moments is when none other than Suzanne Ciani went on 3-2-1 Contact in 1980 to step inside her studio:

Fred Rogers of Mister Rogers’ Neighborhood fame was actually a composer before going into television, and the show’s deep commitment to music education reflected that. That music was generally of the acoustic variety, but he did one day tote a rare ARP Soloist synthesizer along with his trademark shoes and handmade sweaters – and his message and song about “play” might well be an anthem for us all.

Canadian-born composer Bruce Haack made an epic appearance on that same show in 1968, where he demonstrated a homemade electronic instrument. Haack himself as as prolific a composer of far-out sci-fi music for children as he was (much darker) experimental compositions and psychedelic works.

The best all-time “Fairlight CMI on a kids’ program” (because, amazingly, there’s been more than one of those) – Herbie Hancock, Sesame Street, 1983. Herbie keeps a terrific sense of cool and calm that all kids’ shows could learn from in this day of cloying, sugar-sweet patronizing programming:

Synths were all over vintage Sesame Street, often providing sound effects as in this oddly hypnotic Ernie puzzle:

Steve Horelick, the composer behind Reading Rainbow, showed off his Fairlight CMI and how digital sampling worked. (I have vivid memories of watching this as a kid – sorry, Steve.) Steve apparently came up at a time when Fairlight ownership was rare enough to get you gigs – but a good thing, too, as a whole generation still sings along with that theme song. And you probably got a second educational gift from Steve if you ever followed one of his brilliant video tutorials on Logic.

Even better than that is Reading Rainbow‘s synesthesia 3D trip – John Sanborn and Dean Winkler’s Luminaire, which was made for Montrea’s Expo ’86, to music by composer Daniel “No, I’m not Philip Glass” Lentz.

Better video of the actual animation and music, which – sorry, Mr. Glass, I actually kind of prefer to Glassworks:

Somehow this looks fresher than it did when it was new.

A young, chipper Thomas Dolby explained synthesis to Jim Henson’s little known 1989 program The Ghost of Faffner Hall!:

Oh yeah, also, apparently Jem and the Misfits imagined an audiovisual synth in 1985 that predicts both Siri and Coldcut / AV software years before their time. Plus dolls should always have synthesizer accessories:

Suggested by:

Mister Rogers, Sesame Street & Jim Henson Introduce Kids to the Synthesizer with the Help of Herbie Hancock, Thomas Dolby & Bruce Haack [Open Culture]

Apart from education, there’s been some wildly adventurous music from obscure (who’s that?) and iconic sources (the Philip Glass?!) alike.

For a time, an experimental music Tumblr followed some of these moments. Here are some of my favorites.

Joan La Barbara does the alphabet (1977):

And yes, trip out with a composition by Philip Glass written especially for Sesame Street:

You can read the full history of this animation on Muppet Wiki,

More obscure, but clever (and I remember this one) – from HBO’s Braingames (1983-85), evidently by a guy named Matt Kaplowitz.

Not growing up in the UK, I’d never heard of Chocky, but it has this trippy, gorgeous opening with music by John W. Hyde:

American composer Paul Chihara’s 1983 score for a show called Whiz Kids is hilariously dated and nostalgia-packed now. But the man is a heavyweight in composition – think Nadia Boulanger student and LA Chamber Orchestra resident. He has an extensive film resume, too, which now landed him a position at NYU:

From Chicago public access TV, there’s a show called Chic-A-Go-Go, which in 2001 hosted The Residents.

But The Residents were on Pee-Wee, too:

Absurdly awesome, to close: “The Experimental Music Must Be Stopped.” This one comes to us from 2010 and French animation series Angelo Rules:

Thanks, Noncompliant, for the suggestion!

The post The amazing classic synth and experimental moments on children’s TV appeared first on CDM Create Digital Music.

Pauset: Canons CD review – cool precision and dense virtuosity

Delivered... Andrew Clements | Scene | Thu 30 Nov 2017 5:00 pm

Nicolas Hodges
(Wergo, two CDs)

Canons have been a feature of western music since at least the 13th century, and it seems that composers are still fascinated by their possibilities. Brice Pauset, the French-born, German-resident former pupil of Gérard Grisey has taken that fascination further than most; as well as these cycles of canons for solo piano, he has composed equivalent cycles for chamber ensemble and chamber orchestra.

The 18 pieces in these four collections were composed between 1989, when Pauset was studying at the Paris Conservatoire, and 2010. They range from spare, rather Webern-like contrapuntal pieces lasting barely a minute, to much denser, virtuosic showpieces, in which the canonical techniques generating them are hard, if not impossible to discern. It’s not easy music to get on terms with. The later sets were composed for Nicolas Hodges, who plays them with his typical combination of cool precision and expressive freedom. He’s also the pianist in the single work on the second disc, Perspectivae Sintagma I, for piano and live electronics, also based on canons.

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FCC Decision Says HD Channels on FM Translators OK – For Now

Delivered... David Oxenford | Scene | Thu 30 Nov 2017 4:47 pm

For many years, the FCC’s Audio Division has allowed the rebroadcast of FM multicast HD signals on FM translators. Recognizing that HD receivers are still not widely available, the analog FM translator makes these digital subchannels widely available. See our post here from 2010 about a case where the FCC approved such rebroadcasts. Yesterday, the Audio Division released another decision dismissing objections against an FM translator license application, where the petitioner argued that the translator licensee, using two translators at the same location to rebroadcast different HD channels, was violating the FCC rule that prohibits two translators serving substantially the same area from rebroadcasting the same programming. The decision concluded that the rule prohibited the rebroadcast of the same “signal” or “programming” in the same area on two different translators, but permitted translators that rebroadcast different HD channels of the same station, as long as those channels had different programming.

So the common practice of rebroadcasting HD signals on FM translators has been blessed once again – at least for now. In the decision, the following statement was made:

the Commission has not yet adopted specific rules governing the technical details of rebroadcasting digital subchannels over FM translators. In 2007, the Commission stated that a fuller record was needed before promulgating specific rules regarding “use of FM translators and boosters to rebroadcast multiplexed audio streams.” Pending further Commission action on this matter, we rely on existing rules and precedent to dispose of the subject Applications and Petitions

This implies that the Commission could, at some point, change its current practice and adopt limits on the use of translators to rebroadcast HD subchannels. We have no reason to believe that any change in policy is imminent, but thought that we should pass along this warning that the rules on this practice have never been set in stone so anyone contemplating such operations needs to carefully weigh any risks.

Readers recommend playlist: your unlikely collaborations

Delivered... George Boyland | Scene | Thu 30 Nov 2017 1:00 pm

This week’s reader-curated list gives us pairings such as Neneh Cherry and Youssou N’Dour, and the combined powers of Bono, Brian Eno and Pavarotti

Here is this week’s playlist – songs picked by a reader from hundreds of suggestions on last week’s callout. Thanks for taking part. Read more about how our weekly series works at the end of the piece.

The KLF, Bill Drummond and Jimmy Cauty, the world’s biggest-selling singles act of 1991, were never short of ideas. Some were good, some were decadence on a bun. It’s hard to get away from their burning of a million quid and then making a house brick from the ashes. Fortunately, they were rarely short of musical ideas, and their chart success bought them an appointment with Tammy Wynette for the Illuminatus-inspired Justified and Ancient, with which we begin this list.

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Run the code: is algorave the future of dance music?

Delivered... Iman Amrani, with film directed by Noah Payne-Frank | Scene | Thu 30 Nov 2017 11:05 am

By building up tracks through the manipulation of programming code, algorave producers are among the underground’s most dextrous and daring. We head to Sheffield to meet those at the heart of the scene

As part of the Guardian’s underground music series, we asked readers where they thought we should be looking for weird scenes. We’ll round up the best suggestions next week to close out the series, but one that stuck out to me was algorave, put forward by an anonymous reader from Sheffield: “This is music created using computer code which is written live in front of an audience … Places in Sheffield hold algoraves where this music is created on the fly with accompanying also live-coded visuals.”

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Run the code: is algorave the future of dance music? – video

Delivered... Iman Amrani Noah Payne-Frank | Scene | Thu 30 Nov 2017 11:05 am

By building up tracks through the manipulation of programming code – and pairing them with visuals also made on the fly – algorave producers are among the underground's most dextrous and daring work. Iman Amrani heads to Sheffield to meet those at the heart of the scene

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Mermaids Are not Seapunk

Delivered... FrankJavCee | Scene | Thu 30 Nov 2017 7:00 am

The Internet genres vaporwave and seapunk mix slowed-down 1990s smooth jazz with house music, and cannot live without images of dolphins, palm trees and Greek marble statues. FrankJavCee offers a round up. He came to our attention through his video tutorials on both genres – and others like cloud rap, farm and bass, ocean grunge, witch house and slime punk. An article from the Norient book Seismographic Sounds (see and order here).

«I’m expressing myself, mom!» (Ambassador Funk via SoundCloud)

The Internet spreads ideas like wild fire. It creates confusion and a lot of white noise. Micro-genres and their aesthetics rise quickly and fall before having time to fully develop.

Artwork for Vektroid aka Macintosh Plus: Floral Shoppe (Beer on the Rug 2011)

Vaporwave flashed out of nowhere around the early 2010s as possibly the first new music genre of this decade. It plays with nostalgia, and it calms you down from reality: by slowing down muzak and smooth jazz, background music we all know too well from shopping malls and hotel lobbies. Ramona Andra Xavier, aka Vektroid, defined the genre’s sound when she slowed down the Diana Ross ballad «It’s Your Move» on her Floral Shoppe album. A storm of comments, criticism and tribute remixes followed her track that she had produced under her second pseudonym, Macintosh Plus. Seapunk spread on the Internet around the same time. It mixes sounds from the ocean – from water bubbles to dolphin sounds – with 1990s R&B and house, southern trap, chip tune and other contemporary music styles. The seapunk community grew fast, but was soon to disappear like sea foam – because mainstream took over, as we are going to see.

Dolphins, Greek Statues and Neptune

Both genres worship the exotic. In vaporwave you see early 1990s PowerPoint clip art mixed with Greek marble statues of various gods and goddesses. Microsoft Paint and Windows 98 or 95 aesthetics are key in vaporwave art – depending on whatever year the creators first experienced technology. Seapunk incorporates colors and topics of the ocean. 3D Nintendo64-style dolphins swim through Windows 95 desktop screens, all set in the Lisa Frank-esque neon colors that US girls know from their schoolbags and books, manufactured especially for them by Lisa Frank Incorporated.

But let’s be honest. Defining and labeling these net-based micro-genres is difficult. Their aesthetics are spreading virally from person to person, replicated and mutated without any money transferred via online platforms like Tumblr, but also YouTube, Twitter, SoundCloud or Facebook. Everything grows quickly and organically, creating homages, satirical comments, and new subgenres. I suggest using the term «meme» – and not «cultures» – when trying to describe these short-lived Internet hypes. «Aesthetic» became the key term in the memes of seapunk and vaporwave. Aesthetic means artistic beauty, or, one’s personal beauty.

Irony and satire are king. Vaporwave is a term often used for software that fails to reach a market. The absurdities and impossibilities of this genre’s aesthetic are – to me – again: satire! Plastic palm trees and distorted beaches are not everyday sights to these artists (in front of their screens). Like addicts search for drugs, they google these exotic images. Manipulating them into digital landscapes they feel alive – probably expressing subconscious emotions, fears, fantasies and dreams. (Vaporwave is dreamlike and satirical while its subgenre ocean grunge is an angst driven reflection of inner frustrations and sorrows.) Seapunk images mix Japanese anime girls with large breasts and blue hair with images of the sea and computers. It is again partly ironic: computers should not become wet.

Seapunk Collage by Thomas Burkhalter (via Google)

From Internet to Mainstream to Downfall

Through the Internet, these micro-genres are shared and replicated internationally, and translated into various languages around the world, from Mexico to Russia and Singapore, from Canada to Brazil. Producers and fans create a sense of identity, unity and belonging. The Bandcamp-based online label Dream Catalogue started selling digital downloads and cassettes, celebrating the rarity of these albums. Again, it is parody: manipulating music from 1980s or 1990s capitalism and selling it on old formats like tape.

And then vaporwave and seapunk zeitgeist started influencing mainstream culture. US rapper Azealia Banks became a contemporary mermaid in her video clip «Atlantis». Seapunk’s founding artist Zombelle responded quickly on Facebook: «Mermaids aren’t seapunk.»

Facebook Posting by Zombelle (28. April 2012)

Then singer Rihanna used seapunk aesthetics in the performance of her hit song «Diamond» on Saturday Night Live on the US NBC station, in front of the eyes of millions. Actually, this might have been the first recorded moment in which a black artist appropriated «memes» of predominantly white artists’ creation – thus mirroring the white rock-and-roll musicians taking riffs from black jazz musicians in the 1950s. That’s what I call irony! The moment McDonald’s starts playing slowed-down muzak and smooth jazz, vaporwave will have come full circle.

When these aesthetics grow and become mainstream these micro-genres fade away. Once they are dissected, placed in new contexts and torn apart, they become simplified, lack substance and lose their magic. In YouTube video tutorials you learn that to create vaporwave music is very simple: all you have to do is slow down a 1990s R&B track by half. Then press play.

This text was published first in the second Norient book Seismographic Sounds. Click on the image to know more.

Some Vaporwave and Seapunk Artists and Tracks

Read More on Norient

> Adam Harper: «The New Hi-Tech Underground»
> Thomas Burkhalter: «Palm Trees, Data Moshing and the Sea»
> Thomas Burkhalter: «New (Post) Digital Pop Music»

Try AI remixing in Regroover with these tips and exclusive sounds

Delivered... Peter Kirn | Scene | Wed 29 Nov 2017 5:11 pm

Regroover opens up new ways of transforming sounds and remixing materials, as powered by machine learning. Here’s how you can try that out, for free.

CDM got the chance to partner with developer Accusonus to help introduce this way of working. And it is a somewhat new approach: you’re separating audio components from rhythmic material, starting with a stereo file. It’s new enough that you might not immediately know where to begin.

So, to get you started, we’ve collaborated on a tutorial and a sound pack.

You don’t need to buy anything here. There’s a 14-day unlimited trial version for download:
https://accusonus.com/products/regroover#downloads

Then, the trick is really understanding the different creative possibilities of Regroover’s toolset. I put together a video – the challenge to myself being really to take a generic sound and do something new with it. I usually ignore all those loops that come with music software, but here it wound up being useful. Sure, I could have programmed my own loop here from scratch, but by working with Regroover, I got to chop up the groove/rhythmic feel and sounds themselves, independent of one another.

Here’s a fast step-by-step walkthrough of the interface:

First, to load the sound pack we’re giving you, choose “load project.” Then navigate to your download, which is grouped by different kits and loops (yeah, there’s a lot of stuff in there).

Second, check tempo settings. Sometimes it’s necessary to halve or double the detected bpm, just as in other time stretching tools. Also, you need to manually sync to the host tempo any time it changes – that’s because it takes a moment for those machine learning-powered algorithms to analyze the file.

You may want to transform the default analysis. The “split” tool allows for some creative manipulation of the number of layers, and how dense different layers are.

Not all Regroover manipulations have to be radical. You can start out just by emphasizing or de-mphasizing portions of the loop – adjusting its relative amplitude and mid/side and left/right panning. I suspect some of you will be happy just making subtle modifications to loops and otherwise leaving them as-is; if you don’t change the tempo, those will sound fairly close to the original. But this is still really different than the usual EQ and compression tools available to you.

As I demonstrate in the video, you can create polyrhythms inside an existing loop by adjusting in and out point on each layer. Again, that’s normally impossible with a stereo audio mix.

You can pull out individual portions of a sound by double-clicking, then dragging a selection. From there, you can drag and drop either into Regroover’s own sampler facility, or back into a host/DAW like Ableton Live.

You may want to check out Regroover’s built-in sampler tools. You’ll find all the usual facilities for amplitude envelope and so on, and you can create a playable pad of sounds you’ve extracted from a loop.

Exclusive CDM sound pack

Just for you, we’ve got a sound pack entitled “Hyper Abstract Electronica.” It’s the work of London/Surrey artist Aneek Thapar, who has an extensive resume in mixing, mastering, and teaching, and has also worked with Novation and Ninja Tune’s iOS/Android remix app Ninja Jamm.

Aneek created something that’s really special, I think, in that it seems perfectly suited to creative abuse inside Regroover. Putting the two together makes this feel almost like a unique instrument.

Aneek clearly thinks of it that way. Watch what happens when he controls it with gestures and the Leap Motion (plus Ableton Push):

The pack is free; we’ll add you to our respective newsletters (which have opt-out options, of course).

Download Hyper Abstract Electronic – CDM Exclusive

I am actually really, really interested if people make any music with this, so please don’t be shy and do send us tracks if you come up with something. (If you aren’t ready to invest, of course, you’ve got a nice 14-day deadline to keep you productive!) I’ll share any really good ones with readers.

For more background on the research behind this:
Accusonus explain how they’re using AI to make tools for musicians

Diclosure: Accusonus sponsored the creation of this content with CDM.

The post Try AI remixing in Regroover with these tips and exclusive sounds appeared first on CDM Create Digital Music.

December Regulatory Dates for Broadcasters – EEO, TV and Translator Filing Windows, Ancillary Revenue Reports, Main Studio Rule Effective Date, Copyright Office Take-Down Notice Registration and More

Delivered... David Oxenford | Scene | Wed 29 Nov 2017 3:46 pm

While the end of the year is just about upon us, that does not mean that broadcasters can ignore the regulatory world and celebrate the holidays all through December. In fact, this will be a busy regulatory month, as witnessed by the list of issues that we wrote about yesterday to be considered at the FCC meeting on December 14. But, in addition to those issues, there are plenty of other deadlines to keep any broadcaster busy.

December 1 is the due date for all sorts of EEO obligations. By that date, Commercial and Noncommercial Full-Power and Class A Television Stations and AM and FM Radio Stations in Alabama, Colorado, Connecticut, Georgia, Maine, Massachusetts, Minnesota, Montana, New Hampshire, North Dakota, Rhode Island, South Dakota, and Vermont that are part of an Employment Unit with 5 or more full-time employees need to place their Annual EEO Public File Reports into the public file (their online public file for TV stations and large-market radio and for those other radio stations that have already converted to the online public file). In addition, EEO Mid-Term Reports on FCC Form 397 are due to be filed at the FCC on December 1 by Radio Station Employment Units with 11 or more full-time employees in Connecticut, Maine, Massachusetts, New Hampshire, Rhode Island, and Vermont; and Television Employment Units with five or more full-time employees in Colorado, Minnesota, Montana, North Dakota, and South Dakota.  We wrote more about the Mid-Term EEO Report here.

Biennial Ownership Reports were at one time scheduled to be filed on December 1 but, as we wrote here, that deadline has now been pushed back until March 2. The new FCC Forms for filing those reports will be available for use on December 1, so stations wanting to get this obligation out of the way can go ahead and file this month.

Both radio and TV stations interested in facilities improvements also have filing deadlines this month. The FCC has temporarily lifted the freeze on TV stations that were not repacked in the incentive auction, allowing them to file minor change applications to improve their facilities. See our article here. The opportunity for these stations to file for improvements in their facilities opened yesterday, and will remain open through December 7. TV stations contemplating improvements in their facilities should take this opportunity to file, as the freeze will be reimposed after the window ends, while TV translators and LPTV stations that were displaced by the incentive auction have their opportunity to file for displacement channels  (see our article here on that displacement window) .

For radio, those AM stations that filed for new FM translators this summer and have been declared to be “singletons,” can file long-form applications specifying the exact facilities that they plan to construct. Those long-form applications can be filed in a window from December 1 through December 21. See our article here. As the FCC’s Audio Division is usually very quick to process translator applications, it is even possible that those who file early in the window will get construction permits granted by the end of the year.

December 1 is also traditionally the deadline for TV stations to file with the FCC their reports on Ancillary and Supplementary Revenues – those nonbroadcast revenues that they received in the past year, on which they must pay a 5% payment to the FCC. As we wrote here, the FCC is considering making these reports mandatory only for the few TV stations that actually have such revenue. Thus, while the FCC considers the rule change, they have suspended the filing requirement for all stations that have no such revenue (see our article here).

Broadcasters are also expecting to see the Order abolishing the main studio rule published in the Federal Register almost any day now. See our articles here and here on the abolition of the main studio rule. If the FCC decision is published this week, as the rule goes into effect 30 days after publication, there is still a chance that some broadcasters can implement the change this year, and not have to renew leases for studio space in January.

We have also reminded media companies that allow third-parties to post material on their websites that the Copyright Office has adopted a new electronic system for registering the names of designated agents who can be served with take-down notices from copyright owners demanding that content that infringes on intellectual property rights be removed from the website. For that registration to be valid, helping to insulate the website owner from liability under the “safe harbor” of Section 512 of the Copyright Act for copyright infringement contained in third-party content, registration of the agent for take-down notices must be completed by December 31. For more information, see our articles here and here.

These are but some of the important regulatory dates facing broadcasters and other media companies this month. As always, consult with your own attorney about the details of these items, and to make sure that there are not other dates that may apply to your stations that we have not highlighted in this list.  So enjoy the holiday season, but stay vigilant about your regulatory obligations and opportunities.

Delhi to host music workshop series – Millennium Post

Delivered... "Indian Electronic Music" - Google News | Scene | Wed 29 Nov 2017 10:01 am

Millennium Post

Delhi to host music workshop series
Millennium Post
Part of the programme also includes a masterclass and a production showcase with American record producer Teebs. There will be an audio-visual collaboration between multi-instrumentalist, producer and film director Ash Koosha and composer ...

and more »

Delhi to host music workshop series – Daijiworld.com

Delivered... "Indian Electronic Music" - Google News | Scene | Wed 29 Nov 2017 9:17 am

Delhi to host music workshop series
Daijiworld.com
Part of the programme also includes a masterclass and a production showcase with American record producer Teebs. There will be an audio-visual collaboration between multi-instrumentalist, producer and film director Ash Koosha and composer ...

and more »

Delhi to host music workshop series – Business Standard

Delivered... "Indian Electronic Music" - Google News | Scene | Wed 29 Nov 2017 9:17 am

Delhi to host music workshop series
Business Standard
Part of the programme also includes a masterclass and a production showcase with American record producer Teebs. There will be an audio-visual collaboration between multi-instrumentalist, producer and film director Ash Koosha and composer ...

and more »
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