JOOX Hadirkan Live Streaming Seoul Music Awards Ke-27

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JOOX Hadirkan Live Streaming Seoul Music Awards ke-27 PROPERTY INSIDE – JOOX membuka tahun 2018 dengan menghadirkan tayangan langsung secara ekslusif konser BIGBANG, MAMA & MMA secara live streaming langsung dari aplikasi JOOX. Sekali lagi penggemar musik K-Pop di Indonesia akan dimanjakan dengan hadirnya live streaming acara bergengsi 27th Seoul Music Awards, sebuah acara tahunan yang diadakan oleh Sports Seoul untuk mengapresiasi karya dan prestasi para musisi di industri musik Korea Selatan. Benny Ho, Senior Director of Business Development, International Business Group, Tencent dalam keterangan tertulisnya pada Sabtu (20/01) mengatakan, penggemar K-Pop di Indonesia dapat menyaksikan acara penghargaan ini pada Kamis, 25 Januari 2018. Penggemar K-Pop Indonesia dapat menikmati pertunjukan menarik dari para artis favorit mereka di Gocheok Sky Dome di Seoul dengan nyaman dari ruang pribadi untuk menyaksikan para bintang K-pop yang masuk daftar nominasi lengkap termasuk BTS, EXO, IU, MONSTA X, Red Velvet, TWICE, Wanna One and WINNER” kata dia. Pengguna JOOX dapat melakukan reservasi untuk menonton acara bergengsi untuk mendapatkan live schedule dari JOOX. Jika Anda penggemar sejati K-Pop, lihat promosi dalam aplikasi JOOX dan dengarkan playlist Feature1 di Discover yang menampilkan playlist pemenang Penghargaan Musik Seoul ke-27 dan lagu K-Pop yang paling populer di tahun 2017, serta playlist MMA atau MAMA. Dengan JOOX, penggemar sekarang dapat mendengarkan musik dari artis lokal dan internasional favorit mereka kapanpun dan dimanapun mereka berada! Daftar sekarang dan nikmati layanan VIP JOOX 3 bulan gratis. www.propertyinside.id.

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The Korean Wave As a Localizing Process: Nation As a Global Actor in Cultural Production
THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Ju Oak Kim May 2016 Examining Committee Members: Fabienne Darling-Wolf, Advisory Chair, Department of Journalism Nancy Morris, Professor, Department of Media Studies and Production Patrick Murphy, Associate Professor, Department of Media Studies and Production Dal Yong Jin, Associate Professor, School of Communication, Simon Fraser University © Copyright 2016 by Ju Oak Kim All Rights Reserved ii ABSTRACT This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices.
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Super Junior
Super Junior Super Junior ((hangulhangul: )?, también conocido co- momo SuJu o o SJ SJ, es unauna boy boy band, proveniente dede Corea Corea del Sur. Formada en el 2005 porpor SM SM Entertainment,, Suju consconstabataba orioriginaginalmelmentente de 12 miemiembrmbros,os, espespe-e- cializados en el ámbito del entretenimiento musical y actoral. Los miembros originales eran:eran: Leeteuk Leeteuk (el lí- der),der), Heechul,, Yesung Yesung,, Shindong,, Kang-in Kang-in,, Sungmin Sungmin,, Eunhyuk,, Donghae Donghae,, Siwon Siwon,, Kibum Kibum,, Ryeowook Ryeowook yy Han Geng. Luego se agregó un decimotercer miembmiembroro llama- dodo Kyuhyun Kyuhyun en el 2006. Super Junior ha realizado siete álbumes de estudio y unun sencillo sencillo desde el 2005, alcanzando el reconocimien- to internacional tras el lanzamiento de su álbum “Sorry, Seúl, ciudad donde se formó Super Junior. Sorry” en el 2009. Además de su éxito comercial, Super Junior ha ganado trece premios en los Mnet Asia Music Awards, dieciséis en los Golden Disk Awards, once pre- 1.1 20002000–200–2005:5: ForFormacmaciónión y DDebebutut popularidadmios en los Seoul de Golden Music Disk Awards Awards, además los años del 2009,premio 2010 a la y 2011. En 2002000,0, SM SM Entertainment tuvo su primer casting En el 2012, fueron nominados como “Mejor Acto Asiá- en el extranjero enen Pekín Pekín,, China China, y descubrió aa Han tico” en loslos MTV MTV Europe Music Awards, mostrando una Geng, quien se presentó a la audición junto con otros vez más su popularidapopularidadd en el mundo. 3.000 participantes. Ese mismo año,año, Leeteuk Leeteuk,, Yesung Yesung yy Eunhyuk Eunhyuk fueron seleccionados después de audicionar Kibum, está como miembro inactivo para seguir con su para la compañía en un sistema de casting anual enen Seúl Seúl.
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Super Junior
Super Junior From Wikipedia, the free encyclopedia For the professional wrestling tournament, see Best of the Super Juniors. Super Junior Super Junior performing at SMTown Live '08 in Bangkok,Thailand Background information Origin Seoul, South Korea Genres Pop, R&B, dance, electropop, electronica,dance-pop, rock, e lectro, hip-hop, bubblegum pop Years active 2005–present Labels S.M. Entertainment (South Korea) Avex Group (Japan) Associated SM Town, Super Junior-K.R.Y., Super Junior-T,Super acts Junior-M, Super Junior-Happy, S.M. The Ballad, M&D Website superjunior.smtown.com,facebook.com/superjunior Members Leeteuk Heechul Han Geng Yesung Kangin Shindong Sungmin Eunhyuk Donghae Siwon Ryeowook Kibum Kyuhyun Korean name Hangul 슈퍼주니어 Revised Romanization Syupeojunieo McCune–Reischauer Syupŏjuniŏ This article contains Koreantext. Without proper rendering support, you may see question marks, boxes, or other symbolsinstead of Hangul or Hanja. This article contains Chinesetext. Without proper rendering support, you may see question marks, boxes, or other symbolsinstead of Chinese characters. This article contains Japanesetext. Without proper rendering support, you may see question marks, boxes, or other symbolsinstead of kanji and kana. Super Junior (Korean: 슈퍼주니어; Japanese: スーパージュニア) is a South Korean boy band from formed by S.M. Entertainment in 2005. The group debuted with 12 members: Leeteuk (leader), Heechul, Han Geng, Yesung, Kangin, Shindong, Sungmin, Eunhyuk, Donghae, Siwon,Ryeowook, Kibum and later added a 13th member named Kyuhyun; they are one of the largest boy bands in the world. As of September 2011, eight members are currently active,[1] due to Han Geng's lawsuit with S.M.
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Transactions
TRANSACTIONS ROYAL ASIATIC SOCIETY KOREA Volume 94 – 2019 1 COVER: The seal-shaped emblem of RAS Korea consists of the following Chinese characters: 槿 (top right), 域 (bottom right), 菁 (top left), 莪 (bottom left), pronounced Kŭn yŏk Ch’ŏng A in Korean. The first two characters mean “the hibiscus region,” referring to Korea, while the other two (“luxuriant mugwort”) are a metaphor inspired by Confucian commentaries on the Chinese Book of Odes, and could be translated as “enjoy encouraging erudition.” SUBMISSIONS: Transactions invites the submission of manuscripts of both scholarly and more general interest pertaining to the anthropology, archeology, art, history, language, literature, philosophy, and religion of Korea. Manuscripts should be prepared in MS Word format and should be submitted in digital form. The style should conform to The Chicago Manual of Style (most recent edition). The covering letter should give full details of the author’s name, address and biography. Romanization of Korean words and names must follow either the McCune-Reischauer or the current Korean government system. Submissions will be peer- reviewed by two readers specializing in the field. Manuscripts will not be returned and no correspondence will be entered into concerning rejections. Transactions (ISSN 1229-0009) Copyright © 2020 Royal Asiatic Society Korea Room 611, Christian Building, Daehangno 19 (Yeonji-dong), Jongno-gu, Seoul 110-736 Republic of Korea Tel: (82-2) 763-9483; Fax: (82-2) 766-3796; email: [email protected] Visit www.raskb.com 2 TRANSACTIONS of the ROYAL ASIATIC SOCIETY KOREA Volume 94 – 2019 Contents Three Generations of Poetic Dissent: Kim Jiha, Park Nohae, Song Kyung-dong Brother Anthony 1 Your Memory, Our Memories Park Jiwon 15 ‘A Children’s Paradise’: Reforming Juvenile Incarceration under the US Military Government in Korea, 1945-48 James D.
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The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, Or Other?
The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Gardner, Hyniea. 2019. The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other?. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42004187 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? Hyniea (Niea) Gardner A Thesis in the Field of Anthropology and Archaeology for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2019 © May 2019 Hyniea (Niea) Gardner Abstract In 2016 the Korea Creative Content Agency (KOCCA) reported that the Korean music industry saw an overseas revenue of ₩5.3 trillion ($4.7 billion) in concert tickets, streaming music, compact discs (CDs), and related services and merchandise such as fan meetings and purchases of music artist apparel and accessories (Kim 2017 and Erudite Risk Business Intelligence 2017). Korean popular music (K-Pop) is a billion-dollar industry. Known for its energetic beats, synchronized choreography, and a sound that can be an amalgamation of electronica, blues, hip-hop, rock, and R&B all mixed together to create something that fans argue is “uniquely K-Pop.” However, further examination reveals that producers and songwriters – both Korean and the American and European specialists contracted by agencies – tend to base the foundation of the K-Pop sound in hip-hop and R&B, which has strong ties to African-American musical traditions.
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Copyright by Chuyun Oh 2015
Copyright by Chuyun Oh 2015 The Dissertation Committee for Chuyun Oh Certifies that this is the approved version of the following dissertation: K-popscape: Gender Fluidity and Racial Hybridity in Transnational Korean Pop Dance Committee: Rebecca Rossen, Supervisor Omi Osun Joni L. Jones Paul Bonin-Rodriguez Cherise Smith Heather Hindman Youjeong Oh K-popscape: Gender Fluidity and Racial Hybridity in Transnational Korean Pop Dance by Chuyun Oh, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2015 Acknowledgements I would like to extend my thanks to PPP faculty members whose advice and help significantly contributed to my dissertation. I offer the deepest appreciations to my academic advisor, Rebecca Rossen, for supporting my dissertation and academic progress for the last five years with great enthusiasm, insight, and mentorship. I am also thankful to Omi Osun Joni L. Jones and Paul Bonin for their generous help and inspiring scholarship. I want to thank each member of my committee, Cherise Smith, Heather Hindman, and Youjeong Oh, for the time to read and respond to my work with advice. I also offer thanks to my colleagues, friends, and Theatre and Dance faculty members whose artistic and scholarly endeavors have significantly inspired my work. Lastly, I express my sincere gratitude and love to my family members and loved one. Without their help, care, love, and patience, everthing I have achieved would not have been possible.
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Pop Cultures: a Comparative Analysis of the American and South Korean Record Industries
POP CULTURES: A COMPARATIVE ANALYSIS OF THE AMERICAN AND SOUTH KOREAN RECORD INDUSTRIES by Kanel Marchand A Thesis Proposal Submitted to the Faculty of College of Business In Partial Fulfillment of the Requirements for the Degree of Master of Science Florida Atlantic University Boca Raton, FL May 2017 Copyright 2017 by Kanel Marchand ii ACKNOWLEDGEMENTS I wish to express my utmost gratitude to my committee members not only for their guidance and encouragement throughout the research and writing process of this manuscript, but also for the knowledge and support they have provided as professors in the Music Business Administration program. Your service is invaluable. I also wish to thank the Florida Atlantic University staff and faculty, in particular my advisor Dr. Marc Rhorer, for their assistance during my graduate career. iv ABSTRACT Author: Kanel Marchand Title: Pop Cultures: A Comparative Analysis of the American and South Korean Record Industries Institution: Florida Atlantic University Thesis Advisor: Dr. Ira Abrams Degree: Master of Science Year: 2017 As the oldest recording industry in the world, the United States has set industry standards regarding record labels, publishing, live entertainment and music services. Since the beginning of the 20th century, American music has become a staple in worldwide pop culture, spreading to all four corners of the world. Indeed, the U.S. music industry has held the number one position in the ranking of the world’s top 10 largest music markets since its first record label, Columbia Records, was founded in 1887. However, a relatively new genre of music is rapidly taking over the world’s pop music scene: South Korean pop music, otherwise known as K-pop.
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ENTERTAINMENT&MARKETING COMPANYPROFILE TABLEOF ABOUT CHANNEL CONTENTS MODOOENM INTRODUCTIONS 1. WELCOMEMESSAGE 1. MAINCHANNEL 2. COMPANYPROFILE 2. OURWORKS 1.WELCOMEMESSAGE ABOUT MODOOENM 2. COMPANYPROFILE Koreaheadquarters”StrongGriends" includeSM,BigHit,JYP Entertainmentandmore. Itisacomprehensiveentertainment companythatstartedwiththe securityofsingers,models,actors, etc. WELCOME belongingtomanyfamous MESSAGE entertainmentagenciesinKorea Modoo ENM is in charge of marketing department in the Philippines of the Korea headquarters ”Strong Friends" and is conducting K-POP concerts, production, SNS and YouTube MCN projects. MultiChannelNetworks Filming& Coordinating Manageandfostersystematic K-popConcertandEntertainment activitiesthroughsocialnetworksfor ProgramFilmingandField Coversongsingers,dancers,models, CoordinatorRelatedtoCultural Influeneers,YouTubers,etc. Exchangesbetween KoreaandthePhilippines OUR SNS&VideoMarketing Webdesign & development WORKS Providesatotalmarketing Website/companyprofile/ solutionthroughSNSandVideo businesscarddesign/companylogo includingplans,branding, etc. scenariocreation,andpromotion provideallthenecessarypartsfor forclients. businessbranding OUR WORK STATION DATE PROJECT CATEGORY COUNTRY POSITION SeoulMusicAwardsKorea2020- Gocheok Dome 2020.01 Concerts Korea Media - SportsSeoulmagazine Seoulcity SeoulMusicAwardsPhilippines 2019.11 K-popcoverdancecompetition Concerts Manila Organizer - InvitationalperformanceofKoreansingers K-fish Haishen 2019.11 Exhibition Manila - K.G.W/GlobalExhibition *cooperated
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Girls' Generation Concert
Introduction DELIGHT THE FUTURE dlto, Inc. Delight The Future Index Introduction Business Area Partners Overview Digital Content History Service / Platform Organization Entertainment Moomin Café Etc Delight The Future 1. Introduction - Overview Company DLTO, INC. Establish 2010.11.16. CEOJUNO CHANG, MINJUNG SEO Address 36, Toegye-ro, Jung-gu, Seoul, Republic of Korea Phone +82 2-2057-7942 Site http://www.dlto.co.kr dlto is short for “delecto”, which means “delight” in Latin. We would like to create a new ‘Delight’ and ‘Happiness’ through connecting technologies with entertainment contents. Delight The Future 1. Introduction - History [Jun] GIFTO (Uplive Service company) Contents/ Service business MOU 2018 [Mar] Kakaotalk Moomin emoticon contents creating / publish [Feb] Kakaotalk Bonobono sound-emoticon contents creating / publish Sign a product providing exclusive contract with ‘GS Retail’ [Dec] Online overseas product purchase agent mall open (Austraila, USA) Create an unlimited shopping platform (shoppingga.com) for customers around the world [Nov] The 27th Seoul Music awards voting service operating 2017 [Jun] “Usinapp” service shopping mall open [May] COEX C-Festival, Moomincafe booth event operating [Apr] Kakaotalk Bonobono sound-emoticon contents creating / publish [Feb] Kakaotalk Moomin sound-emoticon contents creating / publish [Nov] The 26th Seoul Music awards voting service operating [Jun] Samsing Galaxy S7 Edge special edition, Batmen Injustice phone theme (wallpaper, 2016 icon set) creating / publish [May] Korea’s First, Largest Moomin Café Open Sign a management conract with ‘Ray’ artist. Delight The Future 1. Introduction - History [Nov] Star timeline Service (Celki) launching The 25th Seoul Music Awards voting service operating [Oct] Download of Atom launcher has exceeded 5 million.
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Case 2:19-cv-03330-PA-PLA Document 1 Filed 04/25/19 Page 1 of 10 Page ID #:1 1 DAVID GROSSMAN (SBN 211326) [email protected] 2 LOEB & LOEB LLP 10100 Santa Monica Blvd., Suite 2200 3 Los Angeles, CA 90067 Telephone: 310.282.2000 4 Facsimile: 310.282.2200 5 BARRY I. SLOTNICK (Pro Hac Vice to be filed) 6 [email protected] LOEB & LOEB LLP 7 345 Park Avenue New York, NY 10154 8 Telephone: 212.407.4000 Facsimile: 212.407.4990 9 Attorneys for Plaintiff 10 BIG HIT ENTERTAINMENT CO. LTD. 11 12 UNITED STATES DISTRICT COURT 13 CENTRAL DISTRICT OF CALIFORNIA 14 WESTERN DIVISION 15 16 BIG HIT ENTERTAINMENT CO. Case No.: 2:19-cv-03330 LTD., 17 Plaintiff, COMPLAINT 18 v. 19 JOHN DOES 1-100, JANE DOES 1- 20 100, AND XYZ COMPANIES 1-100, 21 Defendants. 22 23 24 25 26 27 28 Loeb & Loeb 17677320.1 A Limited Liability Partnership COMPLAINT Including Professional 230076-10001 Corporations Case 2:19-cv-03330-PA-PLA Document 1 Filed 04/25/19 Page 2 of 10 Page ID #:2 1 Plaintiff Big Hit Entertainment Co. Ltd. (“Plaintiff”), by its attorneys Loeb & 2 Loeb LLP, complaining of Defendants herein, alleges as follows: 3 NATURE OF THE ACTION 4 1. This action arises under the Lanham Trademark Act of 1946, 15 U.S.C. 5 § 1051 et seq. (the “Lanham Act”), Section 3344(a) of the California Civil Code, 6 California Business and Professions Code Section 17200 et seq., and the common 7 law of the State of California.
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MÚSICA ENSINOFUNDAMENTAL- ETAPAIII Alunos 12A 15Anos Atividade De Música
ESCOLA SEM MUROS em casa também se aprende MÚSICA ENSINOFUNDAMENTAL- ETAPAIII Alunos 12a 15anos Atividade de Música 2 Apreciação Musical Essa atividade poderá ser realizada com orientação dos pais ou responsáveis! 3 Olá pessoal! Audiovisual: Hoje vamos falar de K-pop. é qualquer K-pop é a abreviação de korean pop comunicação que (música pop coreana ou música Oláestimula pessoal! a audição popular coreana) é um gênero Dessa vez convidoe a visãoa todos ao para mesmo musical que teve sua origem na conhecer a fábulatempo, “Os Músicos como de um Coreia do Sul e se caracteriza por uma Bremen” em alemão:show"Die musical Bremer por grande variedade de elementos Stadtmusikanten” daexemplo. tradição audiovisuais. popular, editada e publicada, pelos Irmãos Grimm, na famosa coletânea de contos que ficaria conhecida como Grimms Märchen (em português, Contos de Grimm), lançada em 1812. Vamos nos concentrar em três dos mais conhecidos grupos musicais: BTS, EXO E BLACKPINK. LINKS DE ACESSO: https://www.youtube.com/watch?v=0lapF4DQPKQ https://www.youtube.com/watch?v=5Ydjda6SBlQ https://www.youtube.com/watch?v=IHNzOHi8sJs BTS Considerado um das principais grupos de K-Pop e também conhecido como Bangtan Boys é um grupo musical sul-coreano. Esse grupo tipicamente de K-Pop é composto por sete membros: Jin, Suga J-Hope, RM, Jimin, V e Jungkook. BTS realizou sua estreia oficial em 13 de junho de 2013 com o lançamento da canção "No More Dream“ em português (não há mais sonho) do álbum 2 Cool 4 Skool. O grupo ganhou os prêmios de "Novo Artista do Ano" em três das premiações de maior destaque da indústria musical da Coreia do Sul.
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Alex San Diego
K-Pop Orientalism: US Cultural Imperialism in Korean Popular Music from 1954 to 2018 By Alexandra San Diego A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of East Asian Studies University of Alberta Ⓒ Alexandra San Diego, 2021 Abstract This project examines how Orientalism has impacted the U.S. and South Korea relationship in a sociocultural context, the history of Korean and Asian people in the U.S., and how these relationships affect the creation, production, and American reception of K-pop. It posits that Orientalist representations within American media produce and perpetuate problematic myths about K-Pop which impact Korean media production and do not alleviate ethnic stereotyping of Asian people and orientalist sentiments against them in the West. Orientalist discourse is found to have persisted into the modern and contemporary age thus impacting the cultural production of Korea and in particular, Korean popular music. I aim to elucidate that by including Asian-American discourse, a discourse that ruptures the binary of East-West or Orient-Occident frameworks, we can have a more transversal understanding of the creation, production, and American reception of Korean pop culture that ruptures the Orientalist logic of “difference”. As this thesis poises itself to uncover orientalist representations and realities as well as highlight the role of Asian and Korean-Americans throughout the history of the sociocultural relationship between the U.S. and South Korea, the structure of this thesis attempts to articulate a history of K-Pop— starting from 1954 and ending in 2018. ii Dedication This thesis is dedicated to my supervisor Dr.
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