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  • Béco Dranoff

    THE INTEGRATED GLOBAL
    CREATIVE ECONOMY

    promulgated by
    The Brazilian Ministry of Culture

    fomented by
    The Bahian Secretary of Culture

    fomented by
    The Palmares Foundation
    for the promotion of Afro-Brazilian Culture

    fomented by
    The National Foundation of Indigenous Peoples

    I CURATE/pathways out

Network Node

  • Name: Béco Dranoff
  • City/Place: New York City
  • Country: United States

CURATION

  • from this node by: Matrix+

Life & Work

  • Bio: Music and Cultural Producer & International Creative Consultant

    Based in New York since 1988, São Paulo born Roberto ‘Béco’ Dranoff has been active in the international creation, production and promotion of music, cultural and entertainment projects for over 30 years. Dranoff’s Brazilian, European and American backgrounds position him as a relevant cultural bridge for international creative entertainment projects and brands. His multi-faceted career includes credits in Grammy™ and Oscar™ nominated projects, label Founder and Artistic Director, record producer and compiler, music supervisor, documentary and TV series producer, festival curator, radio host and DJ.

    Having entered the industry in 1984 as Music Programmer at São Paulo's Top 40 radio station Jovem Pan 2 FM, Dranoff obtained his Bachelors degree in 1988 in Media & Mass Communications with a focus on Radio & TV from Fundação Armando Alvares Penteado / FAAP University. Upon graduating, Dranoff relocated to New York and founded Artmosphere, Inc. an agency to represent and tour manage international Brazilian stars Gilberto Gil, Caetano Veloso and Margareth Menezes. Throughout the 1990’s, Dranoff co-produced and A&R’d the acclaimed HIV/AIDS awareness compilations Red Hot + Rio (Verve Records, 1996), Onda Sonora: Red Hot + Lisbon (Movieplay, 1998) and Red Hot + Rio 2 (E1, 2011). In 1999, he co-founded the Ziriguiboom Discos in association with Belgium’s Crammed Discs, signing and launching the international careers of acclaimed Brazilian artists Bebel Gilberto, Suba, Celso Fonseca, Zuco 103, Bossacucanova, DJ Dolores, Trio Mocotó, Apollo Nove and Cibelle. Dranoff was the A&R and co-producer of Gilberto’s three initial Grammy™ nominated albums: Tanto Tempo (Ziriguiboom, 2000), Bebel Gilberto (Ziriguiboom, 2004) and Momento (Ziriguiboom, 2007). The innovative Ziriguiboom label became synonymous with the modern sound of Brazil of the 2000’s.

    Notable music supervision and compilation projects include Oscar™ nominated documentary How To Survive a Plague (dir. David France, Sundance Selects, 2012), Next Stop Wonderland (dir. Brad Anderson, Miramax, 1998), Novabossa (Verve Records), Capiríssima: Batucada Eletrônica (Caipirinha), The Best Of Os Mutantes: Everything is Possible with David Byrne (Luaka Bop), Chico Science & Nação Zumbí CSNZ Remixes (Sony Music Brasil), The Now Sound Of Brazil, SambaSoul 70, Brasil2Mil: The Soul Of Bass-O-Nova (Ziriguiboom) and more. Branded curatorial music projects and compilations include clients: Clinton Foundation, Brazil Foundation, Sagatiba, Sambazon, Leblon, Smoking, Natura, Espasso, UMA, Max Mara, Swarovski, Estar and Arezzo.

    In 2009 Dranoff and director Guto Barra launched the award-winning independent feature documentary Beyond Ipanema: Brazilian Waves in Global Music focused on the international influence of Brazilian music from Carmen Miranda to today. Beyond Ipanema premiered at MoMA’s Premiere Brazil Film Festival, being screened in over 50 international festivals including SXSW, HotDocs, Chicago Film Festival and Rio Film Festival, receiving critical praise. In 2012, Dranoff and Barra partnered with Brazilian arts cable TV channel Canal Brasil (GloboSat) to produce a two seasons or programs based on the concept.

    From 2010 through 2016, Dranoff produces and hosts 65 episodes of Sonoridade, a monthly online music program streamed on Clocktower Radio. In 2011, Dranoff joined the curatorial team of New York’s Brasil Summerfest, transforming the festival into Brazil’s most important music series internationally. Live event curatorial work includes: Lisbon’s Expo ’98 Red Hot + Lisbon Live, Red Hot + Rio Live at BAM (Brooklyn Academy of Music, 2008) and MoMA’s Sculpture Garden Brazilian Summer (2010, 2011). From 2012 to 2016 Dranoff joins Empire Entertainment, the premier corporate event production company as director for Brazil & Region. With Empire Dranoff works in the production in major projects during Rio’s 2014 World Cup and 2016 Olympic Games for brands such as Coca-Cola, Sony, Panasonic and Bridgestone, as well as the Be Brasil event in NY for Brazilian export office APEX.
    ‍
    As a DJ and Music Selector, Dranoff has performed in prestigious festivals and events such as NY Fashion Week, Central Park Summerstage, Lincoln Center’s Out-Of-Doors, Sydney Festival, Austin’s SXSW, Rio’s Jazz & Bossa Festival as well as clubs in New York, São Paulo, Beijing, Tokyo, Wellington and more. In 2017 he was invited to start a monthly online radio program for Spain’s influential Radio Gladys Palmera called Brazilab focused on the modern sounds of Brazil. He is also part of music production team Sambismo with award winning composer and producer Zé Luis Oliveira.

    In 2017 and 2018 Dranoff was invited to be part of the prestigious Abu Dhabi Culture Summit event attended by 400 international thought leaders and cultural producers. He currently continues to consult for artists, brands and events, always aiming to create and produce music, cultural projects and properties with a broad global appeal.

Contact Information

  • Email: [email protected]

Media | Markets

  • ▶ Twitter: becodranoff
  • ▶ Instagram: becography
  • ▶ Website: http://becodranoff.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UCxwV7SZNk-rR6PRiVe3-14Q

Clips (more may be added)

  • BEYOND IPANEMA
    By Béco Dranoff
    617 views
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Béco Dranoff Curated
pathways in

  • 4 Brazilian Music
  • 4 Cultural Producer
  • 4 DJ
  • 4 New York City
  • 4 Record Label Owner
  • 4 Record Producer

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  • ENGLISH (pra Portuguese →)
  • PORTUGUÊS (to English →)

ENGLISH (pra Portuguese →)

 

WHO IS INSIDE THIS GLOBAL MATRIX?

Explore above for a complete list of artists and other members of the creative economy.


WHY BRAZIL?

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.

 

Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.

 

Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).

 

Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.

 

Three cultures — from three continents — running for their lives, their confluence forming a scintillatingly unprecedented fourth. Pandeirista on the roof.

 

Nowhere else but here. Brazil itself is a matrix.

 


✅—João do Boi
João had something priceless to offer the world.
But he was impossible for the world to find...
✅—Pardal/Sparrow
PATHWAYS
from Brazil, with love
THE MISSION: Beginning with the atavistic genius of the Recôncavo (per "RESPLENDENT BAHIA..." below) & the great sertão (the backlands of Brazil's nordeste) — make artists across Brazil — and around the world — discoverable as they never were before.

HOW: Integrate them into a vast matrixed ecosystem together with musicians, writers, filmmakers, painters, choreographers, fashion designers, educators, chefs et al from all over the planet (are you in this ecosystem?) such that these artists all tend to be connected to each other via short, discoverable, accessible pathways. Q.E.D.

"Matrixado! Laroyê!"
✅—Founding Member Darius Mans
Economist, PhD, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
President of Brazil


The matrix was created in Salvador's Centro Histórico, where Bule Bule below, among first-generation matrixed colleagues, sings "Chegou a hora dessa gente bronzeada mostrar seu valor... The time has come for these bronzed people to show their worth..."

Music & lyrics (Brasil Pandeiro) by Assis Valente of Santo Amaro, Bahia, Brazil. Video by Betão Aguiar of Salvador.

...the endeavor motivated in the first instance by the fact that in common with most cultures around our planet, the preponderance of Brazil's vast cultural treasure has been impossible to find from outside of circumscribed regions, including Brazil itself...

Thus something new under the tropical sun: Open curation beginning with Brazilian musicians recommending other Brazilian musicians and moving on around the globe...

Where by the seemingly magical mathematics of the small world phenomenon, and in the same way that most human beings are within some six or so steps of most others, all in the matrix tend to proximity to all others...

The difference being that in the matrix, these steps are along pathways that can be travelled. The creative world becomes a neighborhood. Quincy Jones is right up the street and Branford Marsalis around the corner. And the most far-flung genius you've never heard of is just a few doors down. Maybe even in Brazil.

"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
✅—Susan Rogers
Personal recording engineer: Prince, Paisley Park Recording Studio
Director: Music Perception & Cognition Laboratory, Berklee College of Music
Author: This Is What It Sounds Like: What the Music You Love Says About You

"Many thanks for this - I am  touched!"
✅—Julian Lloyd Webber
That most fabled cellist in the United Kingdom (and Brazilian music fan)

"I'm truly thankful... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Blue Note recording artist

"Thanks, this is a brilliant idea!!"
✅—Alicia Svigals
Founder of The Klezmatics

"This is super impressive work ! Congratulations ! Thanks for including me :)))"
✅—Clarice Assad
Compositions recorded by Yo Yo Ma and played by orchestras around the world

"Thank you"
(Banch Abegaze, manager)
✅—Kamasi Washington


RESPLENDENT BAHIA...

...is a hot cauldron of rhythms and musical styles, but one particular style here is so utterly essential, so utterly fundamental not only to Bahian music specifically but to Brazilian music in general — occupying a place here analogous to that of the blues in the United States — that it deserves singling out. It is derived from (or some say brother to) the cabila rhythm of candomblé angola… …and it is called…

Samba Chula / Samba de Roda

Mother of Samba… daughter of destiny carried to Bahia by Bantus ensconced within the holds of negreiros entering the great Bahia de Todos os Santos (the term referring both to a dance and to the style of music which evolved to accompany that dance; the official orthography of “Bahia” — in the sense of “bay” — has since been changed to “Baía”)… evolved on the sugarcane plantations of the Recôncavo (that fertile area around the bay, the concave shape of which gave rise to the region’s name) — in the vicinity of towns like Cachoeira and Santo Amaro, Santiago do Iguape and Acupe. This proto-samba has unfortunately fallen into the wayside of hard to find and hear…

There’s a lot of spectacle in Bahia…

Carnival with its trio elétricos — sound-trucks with musicians on top — looking like interstellar semi-trailers back from the future…shows of MPB (música popular brasileira) in Salvador’s Teatro Castro Alves (biggest stage in South America!) with full production value, the audience seated (as always in modern theaters) like Easter Island statues…

…glamour, glitz, money, power and press agents…

And then there’s where it all came from…the far side of the bay, a land of subsistence farmers and fishermen, many of the older people unable to read or write…their sambas the precursor to all this, without which none of the above would exist, their melodies — when not created by themselves — the inventions of people like them but now forgotten (as most of these people will be within a couple of generations or so of their passing), their rhythms a constant state of inconstancy and flux, played in a manner unlike (most) any group of musicians north of the Tropic of Cancer…making the metronome-like sledgehammering of the Hit Parade of the past several decades almost wincefully painful to listen to after one’s ears have become accustomed to evershifting rhythms played like the aurora borealis looks…

So there’s the spectacle, and there’s the spectacular, and more often than not the latter is found far afield from the former, among the poor folk in the villages and the backlands, the humble and the honest, people who can say more (like an old delta bluesman playing a beat-up guitar on a sagging back porch) with a pandeiro (Brazilian tambourine) and a chula (a shouted/sung “folksong”) than most with whatever technology and support money can buy. The heart of this matter, is out there. If you ask me anyway.

Above, the incomparable João do Boi, chuleiro, recently deceased.

 

 

PORTUGUÊS (to English →)

 

QUEM ESTÁ DENTRO DESTE MATRIX?

Explore acima para uma lista completa de artistas e outros membros da economia criativa global.


POR QUE BRASIL?

O Brasil não é uma nação européia. Não é uma nação norte-americana. Não é uma nação do leste asiático. Compreende — selva e deserto e centros urbanos densos — tanto o equador quanto o Trópico de Capricórnio.

 

O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América, e é um repositório de divindades africanas (e sua música) agora em grande parte esquecido em suas terras de origem.

 

O Brasil era um refúgio (de certa forma) para os sefarditas que fugiam de uma Inquisição que os seguia através do Atlântico (aquele símbolo não oficial da música nacional brasileira — o pandeiro — foi quase certamente trazido ao Brasil por esse povo).

 

Através das savanas ressequidas do interior do culturalmente fecundo nordeste, onde o mago Hermeto Pascoal nasceu na Lagoa da Canoa e cresceu em Olho d'Águia, uma grande parte da população aborígine do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi.

 

Três culturas — de três continentes — correndo por suas vidas, sua confluência formando uma quarta cintilante e sem precedentes. Pandeirista no telhado.

 

Em nenhum outro lugar a não ser aqui. Brasil é um matrix mesmo.

 


✅—João do Boi
João tinha algo inestimável pro mundo.
Mas ele era impossível pro mundo encontrar...
✅—Pardal/Sparrow
CAMINHOS
do Brasil, com amor
A MISSÃO: Começando com a atávica genialidade do Recôncavo (conforme "RESPLANDECENTE BAHIA..." abaixo) e do grande sertão — tornar artistas através do Brasil — e ao redor do mundo — descobriveis como nunca foram antes.

COMO: Integrá-los num vasto ecosistema matrixado, juntos com músicos, escritores, cineastas, pintores, coreógrafos, designers de moda, educadores, chefs e outros de todos os lugares (você está neste ecosistema?) de modo que todos esses artistas tendem a estar ligados entre si por caminhos curtos, descobriveis e acessíveis. Q.E.D.

"Matrixado! Laroyê!"
✅—Membro Fundador Darius Mans
Economista, doutorado, Massachusetts Institute of Technology
✅—Luiz Inácio Lula da Silva
Presidente do Brasil


O matrix foi criado no Centro Histórico de Salvador, onde Bule Bule no clipe, entre colegas da primeira geração no matrix, canta "Chegou a hora dessa gente bronzeada mostrar seu valor..."

Música & letras (Brasil Pandeiro) por Assis Valente de Santo Amaro, Bahia. Vídeo por Betão Aguiar de Salvador.

...o empreendimento motivado na primeira instância pelo fato de que em comum com a maioria das culturas ao redor do nosso planeta, a preponderância do vasto tesouro cultural do Brasil tem sido impossível de encontrar fora de regiões circunscritas, incluindo o próprio Brasil.

Assim, algo novo sob o sol tropical: Curadoria aberta começando com músicos brasileiros recomendando outros músicos brasileiros e avançando ao redor do globo...

Onde pela matemática aparentemente mágica do fenômeno do mundo pequeno, e da mesma forma que a maioria dos seres humanos estão dentro de cerca de seis passos da maioria dos outros, todos no matrix tendem a se aproximar de todos...

Com a diferença que no matrix, estes passos estão ao longo de caminhos que podem ser percorridos. O mundo criativo se torna uma vizinhança. Quincy Jones está lá em cima e Branford Marsalis está ao virar da esquina. E o gênio distante que você nunca ouviu falar tá lá embaixo. Talvez até no Brasil.

"Obrigada por me incluir neste matrix maravilhoso!"
✅—Susan Rogers
Engenheiro de gravação pessoal para Prince: Paisley Park Estúdio de Gravação
Diretora: Laboratório de Percepção e Cognição Musical, Berklee College of Music
Autora: This Is What It Sounds Like: What the Music You Love Says About You

"Muito obrigado por isso - estou tocado!"
✅—Julian Lloyd Webber
Merecidamente o violoncelista mais lendário do Reino Unido (e fã da música brasileira)

"Estou realmente agradecido... Sohlangana ngokuzayo :)"
✅—Nduduzo Makhathini
Artista da Blue Note

"Obrigada, esta é uma ideia brilhante!!"
✅—Alicia Svigals
Fundadora do The Klezmatics

"Este é um trabalho super impressionante! Parabéns! Obrigada por me incluir :)))"
✅—Clarice Assad
Composições gravadas por Yo Yo Ma e tocadas por orquestras ao redor do mundo

"Thank you"
(Banch Abegaze, empresário)
✅—Kamasi Washington


RESPLANDECENTE BAHIA...

...é um caldeirão quente de ritmos e estilos musicais, mas um estilo particular aqui é tão essencial, tão fundamental não só para a música baiana especificamente, mas para a música brasileira em geral - ocupando um lugar aqui análogo ao do blues nos Estados Unidos - que merece ser destacado. Ela deriva (ou alguns dizem irmão para) do ritmo cabila do candomblé angola... ...e é chamada de...

Samba Chula / Samba de Roda

Mãe do Samba... filha do destino carregada para a Bahia por Bantus ensconced dentro dos porões de negreiros entrando na grande Bahia de Todos os Santos (o termo refere-se tanto a uma dança quanto ao estilo de música que evoluiu para acompanhar essa dança; a ortografia oficial da "Bahia" - no sentido de "baía" - foi desde então alterada para "Baía")... evoluiu nas plantações de cana de açúcar do Recôncavo (aquela área fértil ao redor da baía, cuja forma côncava deu origem ao nome da região) - nas proximidades de cidades como Cachoeira e Santo Amaro, Santiago do Iguape e Acupe. Este proto-samba infelizmente caiu no caminho de difíceis de encontrar e ouvir...

Há muito espetáculo na Bahia...

Carnaval com seu trio elétrico - caminhões sonoros com músicos no topo - parecendo semi-reboques interestelares de volta do futuro...shows de MPB (música popular brasileira) no Teatro Castro Alves de Salvador (maior palco da América do Sul!) com total valor de produção, o público sentado (como sempre nos teatros modernos) como estátuas da Ilha de Páscoa...

...glamour, glitz, dinheiro, poder e publicitários...

E depois há de onde tudo isso veio... do outro lado da baía, uma terra de agricultores e pescadores de subsistência, muitos dos mais velhos incapazes de ler ou escrever... seus sambas precursores de tudo isso, sem os quais nenhuma das anteriores existiria, suas melodias - quando não criadas por eles mesmos - as invenções de pessoas como eles, mas agora esquecidas (pois a maioria dessas pessoas estará dentro de um par de gerações ou mais), seus ritmos um constante estado de inconstância e fluxo, tocados de uma forma diferente (a maioria) de qualquer grupo de músicos do norte do Trópico de Câncer... fazendo com que o martelo de forja do Hit Parade das últimas décadas seja quase que doloroso de ouvir depois que os ouvidos se acostumam a ritmos sempre mutáveis, tocados como a aurora boreal parece...

Portanto, há o espetáculo, e há o espetacular, e na maioria das vezes o último é encontrado longe do primeiro, entre o povo pobre das aldeias e do sertão, os humildes e os honestos, pessoas que podem dizer mais (como um velho bluesman delta tocando uma guitarra batida em um alpendre flácido) com um pandeiro (pandeiro brasileiro) e uma chula (um "folksong" gritado/cantado) do que a maioria com qualquer tecnologia e dinheiro de apoio que o dinheiro possa comprar. O coração deste assunto, está lá. Se você me perguntar de qualquer forma.

Acima, o incomparável João do Boi, chuleiro, recentemente falecido.

 

 

  • Negrizu Afoxé
  • Mark Lettieri Instructor
  • Magary Lord Salvador
  • Marcel Camargo Cavaquinho
  • David Binney Saxophone
  • Tatiana Eva-Marie Brooklyn, NY
  • Keita Ogawa Percussion
  • Jack Talty Record Producer
  • Edsel Gomez Multi-Cultural
  • Fabian Almazan Havana
  • Maria Bethânia Singer
  • Guga Stroeter Candomblé
  • Jean Rondeau Film Scores
  • Caoimhín Ó Raghallaigh Ireland
  • Ed Roth Songwriter
  • Cara Stacey Mbabane
  • Kiko Loureiro Guitar Instruction
  • Anna Mieke Irish Folk Music
  • Cécile McLorin Salvant Jazz
  • Nancy Viégas Fotógrafa, Photographer
  • Tony Kofi Flute
  • James Brady Composer
  • Beth Bahia Cohen Kabak Kemane
  • John Harle Author
  • Masao Fukuda Brazil
  • Olivia Trummer Classical Guitar
  • Brigit Katz Toronto
  • Lucio Yanel Guitar
  • Pedro Aznar Buenos Aires
  • Irma Thomas R&B
  • Mary Halvorson Guitar
  • Adenor Gondim Salvador
  • David Ritz Liner Notes
  • Sebastião Salgado Paris, França
  • Dan Tepfer Jazz
  • Fred Dantas Choro
  • Orrin Evans Piano
  • Karsh Kale कर्ष काळे EDM
  • Adonis Rose Drums
  • Greg Kurstin Los Angeles
  • Shanequa Gay Poet
  • Paul Cebar Multi-Cultural
  • Casey Benjamin Funk
  • Pharoah Sanders Saxophone
  • Richie Barshay Klezmer
  • Maracatu Ventos de Ouro Baque Virado
  • Capitão Corisco Bahia
  • Guiga de Ogum Cantor-Compositor, Singer-Songwriter
  • Philip Watson Writer
  • César Camargo Mariano São Paulo
  • Karim Ziad North African Music
  • Daru Jones Record Label Owner
  • Oswaldinho do Acordeon Composer
  • Paulo César Figueiredo Jornalista, Journalist
  • Benoit Fader Keita Senegal
  • Anna Mieke Singer-Songwriter
  • Jen Shyu Dancer
  • Beeple NFTs
  • Vânia Oliveira Salvador
  • Bruno Monteiro Brasil, Brazil
  • Mário Pam Bloco Afro
  • Laura Cole Singer-Songwriter
  • Marko Djordjevic Jazz
  • Miles Mosley Los Angeles
  • Sam Eastmond Record Producer
  • Siphiwe Mhlambi Photographer
  • Del McCoury Country
  • Iroko Trio São Paulo
  • Chico Buarque Rio de Janeiro
  • Guilherme Varella Brasil, Brazil
  • Joan Chamorro Barcelona
  • Carlos Prazeres Brasil, Brazil
  • Issa Malluf Doumbek
  • Ben Allison Concert Producer
  • Priscila Castro Carimbó
  • Gilmar Gomes Singer-Songwriter
  • Dan Weiss Avant-Garde Jazz
  • Phakama Mbonambi Journalist
  • VJ Gabiru Fotógrafo, Photographer
  • Perumal Murugan Novelist
  • Chris Boardman Composer
  • Stephanie Foden Toronto
  • Ivan Bastos Violão, Guitar
  • Giorgi Mikadze გიორგი მიქაძე Georgian Folk Music
  • Alain Pérez Cuba
  • Pururu Mão no Couro Samba
  • Luizinho do Jêje Candomblé
  • John Harle Television Scores
  • Nubya Garcia DJ
  • Nels Cline Composer
  • Laura Beaubrun Lausanne, Switzerland
  • Don Byron New York City
  • William Skeen Cello
  • Amilton Godoy Classical Music
  • Antônio Pereira Amazonas
  • Michael W. Twitty Food Writer
  • Marc Cary Multi-Cultural
  • VJ Gabiru Mapeamento de Projeção, Projection Mapping
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