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Sparks
Aug 7, 2021 16:02:45 GMT
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Post by Sheriff John Stone on Aug 7, 2021 16:02:45 GMT
1976-1978: Back In The U.S.A.
After three successful albums (Kimono My House, Propaganda, Indiscreet), extensive touring, and several TV appearances, Ron and Russell Mael returned to the United States. And, again, Sparks was faced with the loss of their band. It was mutually decided that Ian Hampton (bass), Trevor White (guitar), and "Dinky" Diamond (drums) would remain in England, not making the move to the U.S.A. With Sparks' next album (Big Beat), for the first time, studio musicians were employed for the recording. This would become the norm, as Sparks was never again a self-contained band.
In 1976, Sparks recorded their last album for Island Records which was actually released on Columbia, Big Beat. They recorded a few demos with Mick Ronson and actually approached Ronson to join Sparks, but Mick had a prior commitment - with Bob Dylan's Rolling Thunder Revue - and declined. Instead, the Big Beat album was recorded in New York with:
Ron Mael - keyboards Russell Mael - vocals Sal Maida (previously with Roxy Music) - bass Jeffrey Salen (previously with Tuff Darts) - guitar Hilly Boy Michaels - drums
Rupert Holmes (who later had his own hit, "Escape (The Pina Colada Song") was chosen to be the Producer. Big Beat was not just a rock album, it was a hard rock album. Some of Sparks' wit and wackiness was sacrificed for more straightforward rock and roll. Big Beat was not a commercial success; it did not chart in the U.S. or the U.K. Sparks was still fairly popular based on their previous three albums and their memorable TV appearances. Sparks appeared in the 1976 movie, Rollercoaster, performing two Big Beat songs, "Big Boy" and "Fill-er-up". (BTW, KISS declined the role in the movie).
By 1977, Ron and Russell Mael were back in their native Southern California. In October 1977, Sparks released their seventh studio album, Introducing Sparks, their second but first official album with Columbia. Some of the studio musicians included Ben Benay, David Foster, Lee Ritenour, and Mike Porcaro (later with Toto). Introducing Sparks was a mixed bag employing a variety of music styles. The first single from the album, "Over The Summer", was a Beach Boys' sound-a-like. Unfortunately, Introducing Sparks was a commercial and critical failure. Like Big Beat, it did not chart in the U.S. or the U.K.
As a big Sparks' fan in 1976-77, personally, with the release of Big Beat and Introducing Sparks, I was confused. Those albums gave the impression that Ron and Russ were giving up, abandoning their unique and frenzied arrangements, and just going with the flow. While Big Beat and Introducing Sparks had their share of vintage Sparks' moments, they also were playing it...more safe. I actually like(d) Big Beat because at that time I was very much into hard rock. It's just that I found it a little unfulfilling. I flat out did not like Introducing Sparks. It was easily their most mellow album to date. It sounded like they were trying to be commercial, maybe get on the radio, maybe have more hit singles. Over time, I've made my peace with Introducing Sparks, and a few of the songs have become favorites.
After Introducing Sparks tanked, I felt that Sparks was at a crossroads, and, with their next album, my hunch would be proven to be correct.
From Big Beat, "I Like Girls"
From Introducing Sparks, "Goofing Off":
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Post by Kapitan on Aug 7, 2021 16:10:06 GMT
By 1977, Ron and Russell Mael were back in their native Southern California. In October 1977, Sparks released their seventh studio album, Introducing Sparks. Some of the studio musicians included Ben Benay, David Foster, Lee Ritenour, and Mike Porcaro (later with Toto).
First of all, loving these narratives.
But what I really wanted to say here was, what an amazing batch of studio musicians they collected for Introducing Sparks! Good God...
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Post by Sheriff John Stone on Aug 7, 2021 16:29:17 GMT
By 1977, Ron and Russell Mael were back in their native Southern California. In October 1977, Sparks released their seventh studio album, Introducing Sparks. Some of the studio musicians included Ben Benay, David Foster, Lee Ritenour, and Mike Porcaro (later with Toto).
First of all, loving these narratives.
But what I really wanted to say here was, what an amazing batch of studio musicians they collected for Introducing Sparks! Good God...
Yes, while Sparks never achieved great commercial success, they always seemed to attract some pretty prolific artists.
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Post by Sheriff John Stone on Aug 22, 2021 21:47:02 GMT
1979-1980: Sparks Meets Giorgio Moroder
By 1978, Sparks was at a crossroads. They were frustrated with the commercial and critical responses to their last few albums, and Ron and Russell Mael were ready for another change. It was decided that Sparks would pursue a more electronic music and dance music direction which was popular in 1977 and 1978.
Through a mutual contact, the Maels met with Giorgio Moroder, the "Father Of Disco" and producer of electronic dance music. With Moroder producing, Sparks recorded their eighth studio album, No. 1 In Heaven, released in March 1979. With No. 1 In Heaven, Sparks dropped their conventional guitar, bass, and keyboards sound for a new sound dominated by synthesizers, drums, and percussion. The music resembled Donna Summer's "I Feel Love". No. 1 In Heaven did produce two hit singles in the U.K., "The Number One Song In Heaven" (#14) and "Beat The Clock" (#10). The album reached No. 73 in the U.K. but only No. 204 in the U.S.
Ron and Russell Mael were happy with the results of No. 1 In Heaven, and decided to record a follow-up album in the same musical vein. Terminal Jive, Sparks' ninth studio album, was released on January 28, 1980. Terminal Jive is credited with Giorgio Moroder and Harold Faltermeyer as Producers, though Faltermeyer claimed that he produced the majority of the album. Terminal Jive was a disaster. The album did not chart in the U.K. and was not even released in the U.S. Oddly, a single from Terminal Jive, "When I'm With You" (which I actually like), was a hit in France (#14) and the Maels moved to France for a year to promote the album and single.
In 1977-1980, I was not a fan of disco or electronic dance music, so, obviously, I was very disappointed in the direction Sparks took with No. 1 In Heaven and Terminal Jive. I hardy listened to those two albums then...or since.
From No. 1 In Heaven, "Beat The Clock"
From Terminal Jive, "When I'm With You"
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Sparks
Sept 21, 2021 13:41:01 GMT
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Post by Sheriff John Stone on Sept 21, 2021 13:41:01 GMT
1981-1985: Sparks is back! Well, kind of...
After two years and two albums of electronic dance music - and with mixed results - Ron and Russ Mael returned to a somewhat older musical style, similar to Sparks' mid-1970's sound, and with a lineup that could be considered a real backing band. Guitarist Bob Haag, bassist Les Bohem, and drummer David Kendrick were recruited, and this lineup would record Sparks' next four albums.
In July 1981, Sparks released their tenth album, Whomp That Sucker. The album was more guitar-oriented and less synthesizer-driven. However, Whomp That Sucker was produced by Mack (who helped produce Queen's The Game), so some synthesizers and dance beats remained. Also returning were the wacky but fascinating songs/song titles including "I Married A Martian", "Don't Shoot Me", "That's Not Nastassia", and "Wacky Women". The two singles, "Tips For Teens" (an excellent song) and "Funny Face" did not chart, and the album peaked at No. 182. Not being a fan of Sparks' electronic dance music, I welcomed Whomp That Sucker. I appreciated the electric guitar, the "out there" songs, and the tongue-in-cheek lyrics. It wasn't quite Kimono My House or even Indiscreet, but they were getting there...again.
While Whomp That Sucker wasn't an overwhelming commercial success, I think Ron and Russ Mael were pleased with this sound, this niche, this incarnation of Sparks. In March 1982, their eleventh album, Angst In My Pants, was released. Again, Mack was the producer, but the album had even more guitar and less synthesizers than Whomp That Sucker. This wasn't quite the old, classic Sparks' sound, but it was, at times, close. On an even more positive note, this was the best batch of Ron Mael songs since 1975's Indiscreet. Angst In My Pants is a very good album, one of Sparks' best. The album reached No. 173 on the charts. "I Predict" was released as a single and reached No. 60, which was their highest charting U.S. single at that time. All of a sudden, Sparks was in demand! "Angst In My Pants" and "Eaten By The Monster Of Love" appeared in the movie, Valley Girl. And, in May 1982, Sparks appeared on Saturday Night Live, performing "Mickey Mouse" and "I Predict". A video for "I Predict" was also produced. It was an amazing comeback. Sparks was back!
In April 1983, Sparks released their twelfth album, Sparks In Outer Space. There were a lot of positives but some negatives, too. First the positives. Sparks In Outer Space peaked at No. 88 on the album charts, making it one of their highest charting albums in the U.S. Even more impressive was the single "Cool Places" (a duet with Jane Wiedlin of The Go-Go's), which reached No. 49 and became their highest charting U.S. single ever. The 12" Extended/Dance Mix version of "Cool Places" reached No. 13 on the dance charts, so Sparks remained popular with that genre. And, finally, the "Cool Places" video got pretty good rotation on MTV, thanks in part to The Go-Go's popularity. In August 1982, Sparks appeared on American Bandstand, lip synching "Cool Places" (with Jane Wiedlin) and "Popularity". Dick Clark had a lot of fun interviewing Russ and especially Ron. They also appeared on Solid Gold, again lip synching two songs, "Cool Places" and "I Wish I Looked A Little Better".
The negatives? Musically, Sparks In Outer Space was a step backwards. The guitars, though present, were less prevalent and the synthesizers were back. The songs were typically energetic and catchy, but not as strong. I was a bit surprised and disappointed. Mack was gone (the album was produced by Ron and Russ), and I thought Sparks was moving away from dance music. In Outer Space brought them right back into it, and I think the success of "Cool Places" was even more motivation to stay there. In Outer Space is a good album, good but still slightly disappointing.
In June 1984, Sparks released their thirteenth album, Pulling Rabbits Out Of A Hat. Simply, this is a weak album and was not well-received both critically and commercially. The guitars and piano were almost completely gone and the synthesizers were back in full force. The album, produced by Ian Little, is described as synth-pop, and that's exactly what it is. The songs are long (for Sparks' songs) and they are lightweight. Pulling Rabbits Out Of A Hat did not chart, but one of the singles, "With All My Might" reached No. 104 on the singles chart (and No. 28 on the Hot Dance/Club Play chart). The video for "With All My Might" appeared on MTV. Sparks did make two major TV appearances in 1984, on American Bandstand and Solid Gold, performing the single,"Pretending To Be Drunk", on both of them.
The 1981-1985 Sparks' era was a perplexing one for me. It started out strong and got stronger, only to regress and disappoint. There were so many highs and lows. Sparks was selling some records, being heard on the radio, being danced to in clubs, appearing on national TV shows, and appearing on MTV. It was another one of those times in their career when they almost achieved universal or mass acclaim. They almost got there...again. But, for me, the bottom line was the music. I thought they were ditching the synthesizers and bringing back the piano and guitars. I thought they were leaving the dance music scene and returning to rock and roll. In 1981, they started that way, but four albums later, and as 1985 ended, I had no idea where they were going.
From Whomp That Sucker, "Tips For Teens"
From Angst In My Pants, "I Predict" and "Eaten By The Monster Of Love"
From In Outer Space, "Cool Places" and "Popularity"
From Pulling Rabbits Out Of A Hat, "With All My Might"
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Sparks
Sept 21, 2021 17:50:05 GMT
Post by jk on Sept 21, 2021 17:50:05 GMT
Great stuff, Sheriff. Your description is spot on! Really appreciate this.
I recall a hilarious video which I keep mislaying where Ron gets pelted with salvos of cream cake. I assume it's from the In Outer Space era, judging from the album cover!
What a fascinating career! And they're still going strong, at one point with members of Kasabian but that's jumping the gun somewhat. Looking forward to reading about the Lil' Beethoven era, when they reinvented themselves yet again. Wunderbar!
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Sparks
Sept 21, 2021 19:12:21 GMT
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Post by Sheriff John Stone on Sept 21, 2021 19:12:21 GMT
Great stuff, Sheriff. Your description is spot on! Really appreciate this. I recall a hilarious video which I keep mislaying where Ron gets pelted with salvos of cream cake. I assume it's from the In Outer Space era, judging from the album cover! What a fascinating career! And they're still going strong, at one point with members of Kasabian but that's jumping the gun somewhat. Looking forward to reading about the Lil' Beethoven era, when they reinvented themselves yet again. Wunderbar!Thank you, jk. Obviously my descriptions of the albums and music are my personal opinions. Please, if you or anyone has a different opinion - good or bad - I welcome it. Sparks is a very unique band, and I'm sure their music strikes different people in very different ways. Oh, and I won't take as long in delving into the next era.
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Sparks
Sept 21, 2021 19:36:26 GMT
Post by Sheriff John Stone on Sept 21, 2021 19:36:26 GMT
I recall a hilarious video which I keep mislaying where Ron gets pelted with salvos of cream cake. I assume it's from the In Outer Space era, judging from the album cover! I think this is the video you are referring to, and it is from In Outer Space..."All You Ever Think About Is Sex":
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Post by jk on Sept 21, 2021 19:45:25 GMT
Great stuff, Sheriff. Your description is spot on! Really appreciate this. What a fascinating career! And they're still going strong, at one point with members of Kasabian but that's jumping the gun somewhat. Looking forward to reading about the Lil' Beethoven era, when they reinvented themselves yet again. Wunderbar!Thank you, jk. Obviously my descriptions of the albums and music are my personal opinions. Please, if you or anyone has a different opinion - good or bad - I welcome it. Sparks is a very unique band, and I'm sure their music strikes different people in very different ways. Oh, and I won't take as long in delving into the next era. I think if my desert island had a computer (i.e. the visual component), the other band I would want to have there besides the Boys would be Sparks. Their videos are such a big part of what they are (not that their music can't stand on its own two feet, mind). Beach Boys records and Sparks videos -- sounds like heaven to me!
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Post by jk on Sept 21, 2021 19:50:46 GMT
I recall a hilarious video which I keep mislaying where Ron gets pelted with salvos of cream cake. I assume it's from the In Outer Space era, judging from the album cover! I think this is the video you are referring to, and it is from In Outer Space..."All You Ever Think About Is Sex":
That's the one, Sheriff -- thanks! I can never remember the title, although perhaps that's more a matter between me and my shrink.
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Sparks
Oct 17, 2021 0:30:28 GMT
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Post by Sheriff John Stone on Oct 17, 2021 0:30:28 GMT
1986-1997: The synths are back...for good.
By the late 1980's and into the 1990's, Ronald and Russell Mael were basically producing Sparks' albums by themselves, and eventually recorded in their own studio, Sparks Studios, in Los Angeles. And, they were also revisiting their previous electronic dance music. Their overall sound was now dominated by synthesizers and sequencers along with sound effects. Ron Mael had become a One Man Band!
In 1986, Sparks released their fourteenth studio album, Music That You Can Dance To. This would be the last Sparks' album recorded by the lineup of guitarist Bob Haag, bassist Les Bohem, and drummer David Kendrick (who joined Devo). Music That You Can Dance To was released on several labels in several countries, all with little success. They released three singles, all dance remixes - "Music That You Can Dance To", "Rosebud", and "Fingertips" (yes, the Stevie Wonder song). Their aim was to appeal to the dance/club genre, and "Music That You Can Dance To" actually reached No. 6 on the Club Chart. The best song on the album was "Change", which was released as a single in the U.K. and reached No. 85. For some reason, in 1990, Curb Records re-released the album as The Best Of Sparks - Music That You Can Dance To. It was very, very far from the best of Sparks.
In August 1988, Sparks released their fifteen studio album, Interior Design. It could've been subtitled, More Music That You Can Dance To. More synthesizers, more dance music. Two singles were released, "So Important" and "Just Got Back From Heaven", which reached No. 8 and No. 7 respectively on the Billboard Hot Dance Music/Club Play Charts. Interior Design did not chart in the U.S. or the U.K.
After the release of Interior Design in 1988, Sparks went on a temporary hiatus from music recording and spent much of the late 1980s and early 1990s dabbling in film-making, with ultimately no results/success. So, in 1994, Sparks released their sixteenth studio album, Gratuitous Sax & Senseless Violins. The synthesizers were still present but the songs were much stronger. Ron Mael's melodies were back as were the humorous lyrics. This was techno meets Sparks' pop music - quite a combination. Yes, it was dance music, but it was also powerful music and it was also...fun. Gratuitous Sax & Senseless Violins is a good album, a very good album. "When Do I Get To Sing 'My Way'" and "When I Kiss You (I Hear Charlie Parker Playing)" were released as singles and charted in various countries on various different charts including the Hot Dance Music/Club Play charts. Unfortunately, the album was not a commercial success, but it was re-released in 2006 with 31 additional tracks on Sparks' own label, Lil' Beethtoven Records.
In 1997, Sparks released their seventeenth studio album, Plagiarism. Was it a new album? Yeah, I guess. Was it a compilation album? Well, not really, but kind of. Was it a "Best Of" album. Well, not really, but kind of again. Plagiarism is a tribute album, but it was a tribute to Sparks by...Sparks. Plagiarism is 19 tracks, all alternate versions of some of Sparks' best known songs. There were guest artists including Faith No More, Erasure, and Jimmy Somerville. Yes, there's plenty of synthesizers and dance music, but the album also features strings/orchestra arrangements/choral arrangements - and it rocks in places, too. I don't know if any of the alternate versions surpass the original versions ("Something For The Girl With Everything" comes close), but there's plenty of life, and unbelievably, some of the tracks are even more frenzied and manic than the old, original versions. Plagiarism was not a commercial success, but again, they made it onto the Hot Dance Music/Club Play chart with "The Number One Song In Heaven", which reached No. 28.
1986-1997 was another confusing era for me. I was very surprised that Sparks went back into the electronic/techno dance music, and went back into it so deeply. But, I guess I shouldn't have been too surprised because that particular style of music was very popular at the time. Specifically, this is what I couldn't make sense of. Ron and Russ Mael started out making music that was unique. Nobody made music like Sparks. They walked to the beat of their own drummer. They were leaders, not followers, and they sacrificed some success - commercially and critically - by producing "Sparks music". Somewhere along the way they became infatuated with synthesizers and dance music and they never turned back. To me, it appeared that Ron Mael was settling, not being as creative, not breaking any new ground. There were a few songs, maybe an album or two, where it appeared that they were maybe returning to their classic, early sound. But, as the end of the 1990s approached, Ron and Russell were now over 50 years of age, and still recording music aimed at the dance/club charts. As I noted above, while the albums were flopping, Sparks always seemed to have a single doing well on the dance/club charts. Maybe that was enough for them. Maybe they felt some kind of fulfillment with that. As I mentioned above, Ron and Russ now had their own studio, and they were free to record what they wanted when they wanted. I didn't know exactly what to expect next, but I had a hunch (as he hums "Music that you can dance to...")
From Music That You Can Dance To, "Change"
From Interior Design, "So Important"
From Gratuitous Sax & Senseless Violins, "When I Get To Sing 'My Way'"
From Plagiarism, "Something For The Girl With Everything"
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Sparks
Nov 13, 2021 15:30:41 GMT
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Post by Sheriff John Stone on Nov 13, 2021 15:30:41 GMT
1998-Present: Slowing Down But Still Around
As the 2000s approached, Sparks was nearing 30 years old and had released 17 studio albums. Ron and Russell Mael were now in their mid-50s, and were settling into releasing albums at their own pace, when they felt inspired. They were recording at Sparks Studio in Los Angeles and producing themselves, with Ron Mael providing most of the arrangements via programming. Much of the music consisted of Ron's keyboards, programmed strings and choirs, and the occasional guitar and drums. Fortunately, the wacky/brilliant lyrics remained and continued to be sung by Russell in his forever youthful voice. Ron and Russ still toured occasionally, still dabbled in film and soundtracks, and still gave their typically interesting interviews. Sparks has influenced many musicians and groups, especially artists in synth-pop, new wave, post-punk, and alternative music. Singers and bands including Joy Division, Sonic Youth, Depeche Mode, Bjork, Steve Jones of The Sex Pistols, Joey Ramone, Morrissey, and John Frusciante have cited Sparks as influencing them. In 2015, Sparks and Franz Ferdinand combined to record and release an album, FFS. As 2022 approaches, Sparks is planning a tour of the U.S. and the U.K., their longest tour in decades.
I don't feel that I am familiar enough with Sparks' post-1999 albums to review them adequately. I will list them and encourage anyone to review/comment on them. I also would happily welcome ANY comments on Sparks' music. They obviously have a vast catalogue comprised of many different-styled songs. Some of it is great, a lot of it is good, and all of it is interesting. Give it a listen and tell us what you think!
Balls (2000)
Lil' Beethoven (2002)
Hello Young Lovers (2006)
Exotic Creatures Of The Deep (2008)
The Seduction Of Ingmar Bergman (2009)
Two Hands, One Mouth: Live In Europe (2013)
FFS (2015)
Hippopotamus (2017)
A Steady Drip, Drip, Drip (2020)
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Post by jk on Nov 15, 2021 21:48:42 GMT
Lil' Beethoven will forever remind me of the first time I whitewashed the bathroom ceiling. I had it playing on YouTube as I rolled on the paint. I'm sure it helps that the cover is white too.
This is a perfect album. I love the minimalist approach, sort of Philip Glass with a sense of humour. Off the top of my head, this was a consequence of their commission to write "Wunderbar", a fantastic bonus track on the reissue:
They were so pleased with the style of this "song" (another fence-straddler!) that they continued in this vein while working on what would become Lil' Beethoven.
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Sparks
Nov 15, 2021 23:42:57 GMT
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Post by Sheriff John Stone on Nov 15, 2021 23:42:57 GMT
Lil' Beethoven will forever remind me of the first time I whitewashed the bathroom ceiling. I had it playing on YouTube as I rolled on the paint. I'm sure it helps that the cover is white too. This is a perfect album. I love the minimalist approach, sort of Philip Glass with a sense of humour. That's a very good description, jk. Ron (and somewhat Russell) created that minimalist approach mostly through programming. They really got into that sound.
I copied this about Lil' Beethoven from Wikipedia: The album was critically applauded, which led to renewed interest in the band. Record Collector magazine named the album as one of its Best New Albums of 2002, describing it as "... possibly the most exciting and interesting release ever from such a long established act", and later in 2003 saying "... it really does feel like one of the best albums ever made."
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Sparks
Dec 5, 2021 0:28:55 GMT
Post by Kapitan on Dec 5, 2021 0:28:55 GMT
I (finally) watched the Sparks documentary. It was interesting, and I did find myself enjoying some of the music. Sometime I need to investigate this band. I feel like I'm always saying that about bands. So many bands, so little time.
As for the doc itself, I have to say the little text under the interviewees (I think it's called the chyron? I just googled...if that's it, funny. I don't know that word.) was very funny, which is fitting for the group. For example, when they were interviewing two guys from Duran Duran, under the one's name, it said "Duran" and under the other's, it also said "Duran." As if each were a Duran. When Weird Al popped up, his said "accordion player." There were quite a few things like that.
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