TODAY'S TOP STORY: Hey, Sony/ATV songwriters, you'll be receiving "100% of the benefits" that result from the mega-publisher's direct deal with Pandora. So that's a relief. As previously reported, Sony/ATV announced that it had reached a direct licensing deal with the American personalised radio service last week. Under the deal, the publisher will get a better royalty rate than it currently receives... [READ MORE]
TODAY'S APPROVED: Amalie Bruun has been releasing music for the best part of a decade in various guises: from bombastic piano-driven pop under her own name to indie-rock as part of Ex Cops and, in her other solo guise, Myrkur, black metal. Which is a range few would attempt, let alone pull off so skilfully. Earlier this year she released her debut album as Myrkur - 'M' - through... [READ MORE]
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including Pandora's "unprecedented" licensing deal with Sony/ATV, the MegaUpload extradition case, UK Music's 'Measuring Music' report on just how much money the music industry is pumping into the UK economy, and the week in Bieber news. The CMU Podcast is sponsored by 7digital... [LISTEN HERE]
TOP STORIES Sony/ATV chief clarifies Pandora deal practicalities in songwriter memo
LEGAL Taylor Swift settles with clothing company
Ex-Sepultura frontman Max Cavalera loses libel case
LABELS & PUBLISHERS Streaming outperforms downloads for Universal this summer, just
TuneCore Australia launches
ASCAP adds percentage share info to its songs database
LIVE BUSINESS Audit Scotland to investigate T In The Park grant
DIGITAL & D2F SERVICES Apple Music launches on Android
GIGS & FESTIVALS Those Busted tour dates we mentioned
ONE LINERS Beggars Group, Ole, Pandora, more
AND FINALLY... Alanis Morissette and James Corden update Ironic
Click JUMP to skip direct to a section of this email or ONLINE to read and share stories on the CMU website (JUMP option may not work in all email readers). For regular updates from Team CMU follow us on Twitter, Facebook or Tumblr.
Alpha Music Publishing are looking for a permanent Finance & Royalties Manager to be based at their East London office and to commence in January 2016 with remuneration based on experience.

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We are now looking for a fully competent and experienced Digital Content Manager to manage the scheduling and delivery for all our digital releases covering singles, artist albums and compilations to all digital retailers ensuring quality control and accurate, timely delivery for our very busy schedule.

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Warp Records is seeking a full-time Junior Business Affairs Administrator to assist with the day to day running of the department which oversees legal and business affairs operations across the entire Warp group of companies.

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Music Concierge, the award-winning music consultancy for boutique hotels and luxury brands, is looking for a Client Services Manager to manage our expanding creative and account management teams and oversee the smooth day-to-day operations of the business, whilst liaising at senior level with world-class brands.

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The Musicians' Union represents over 30,000 musicians working in all sectors of the music business. As the Regional Officer, your broad knowledge of the music industry will enable you to play a full and effective role in the delivery of services to our members within the Region.

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Impressive PR are looking for an experienced Senior Music Publicist salary approx £25-35K+ dependent on experience, specifically for publicists who know the job and have excellent music media contacts and potential to bring in their own clients.

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Composed is a digital start-up from Universal Music Group, the global music leader. We are recruiting for a full-time Customer Services Executive to support the needs of our ever-growing customer base. This position would suit a tech-savvy graduate with a passion for classical music and previous experience in a customer service role.

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WFS Comms is looking for an experienced publicist to work across music, brand and event publicity. We need a music obsessive, with good, long standing contacts, sharp strategic thinking and experience pitching on new business with great presentation skills.

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A guide to upcoming events from and involving CMU, including seminars, masterclasses and conference sessions from CMU Insights and workshops from CMU:DIY, plus other events where CMU journalists are speaking or moderating.
16 Nov 2015 CMU Insights Seminar: Building A Fanbase - Social Media Tools
18 Nov 2015 CMU:DIY x Urban Development Industry Takeover Seminar
20 Nov 2015 CMU Business Editor Chris Cooke appears at Finding The Future
21 Nov 2015 CMU:DIY x The Roundhouse Artist Toolkit Day
23 Nov 2015 CMU Insights Seminar: Building A Fanbase - Music Media
30 Nov 2015 CMU Insights Seminar: Building A Fan-Orientated Business
07 Dec 2015 CMU Insights Masterclass: Navigating The Digital Market
10 Dec 2015 CMU:DIY x Urban Development Industry Takeover Seminar
18 Jan 2016 CMU Insights Seminars: How The Music Business Works Programme
10 Feb 2016 CMU Insights Masterclass: Key Developments In Music Rights
5 May 2016 CMU Insights @ Canadian Music Week 2016

Sony/ATV chief clarifies Pandora deal practicalities in songwriter memo
Hey, Sony/ATV songwriters, you'll be receiving "100% of the benefits" that result from the mega-publisher's direct deal with Pandora. So that's a relief.

As previously reported, Sony/ATV announced that it had reached a direct licensing deal with the American personalised radio service last week. Under the deal, the publisher will get a better royalty rate than it currently receives from the collective licensing system via which Pandora has previously licensed song rights.

Pandora has agreed to these terms - despite Sony/ATV currently being obliged to allow the digital firm to get its licenses from collecting societies ASCAP and BMI if it so wishes - in order to get more long-term security. Collective licensing rules are up for review in the US and things might change, plus highly public attempts to reduce royalty commitments through America's rate courts have resulted in plenty of bad press for the publicly listed (and therefore PR sensitive) personalised radio business.

In a memo to writers, Sony/ATV chief Marty Bandier says that it was Pandora which reached out to the publisher in recent months about doing a direct deal. That new agreement, he says, "will result in a significant increase in the royalties that you will receive". He adds that "I am not in a position to publicly go into the specifics of the deal" but says "rest assured that you will receive 100% of its benefits". That's 100% of the benefits pro-rata, I'm guessing.

Despite being light on deal specifics, Bandier does answer two key questions in his memo. First, when the collecting societies - or performing rights organisations - license a service, 50% of the income is automatically paid to songwriters, with those payments not being subject to any recoupment obligations under a writer's publishing deal. And, says the Sony/ATV chief, that won't change as a result of the new arrangement.

He writes "you will receive your songwriter royalties relating to Pandora directly from the PROs and to be clear, none of those amounts will be used to recoup any advances that you may have received". This will work in a similar way to the streaming services the big publishers have directly licensed in Europe, where performing rights income still always flows through societies like PRS, which pays half the money to writers direct.

The other thing Bandier confirms is that the Sony/ATV deal only covers the publisher's own share in co-owned songs. Under US copyright law, in theory Sony/ATV could license part-owned works in their entirety, passing on a pro-rata share of income to the other stakeholder publishers, writers and/or PROs. Though such a practice is generally frowned upon, and is not part of this deal.

Says Bandier: "Further, I should point out this is a direct deal between Sony/ATV and Pandora whereby we have only licensed the fractional share of the songs in our catalogue that we control. In other words, we did not grant Pandora a 100% license. That is consistent with our past practice and what we believe has been the long-standing practice in our industry".

Questions do remain regarding how much of Sony/ATV's catalogue is covered by the deal, in that beyond the US the societies rather than the publisher control the performing rights that Pandora seeks to exploit, meaning the likes of PRS have to be involved in any deal making. European societies currently have reciprocal deals with BMI and ASCAP that cover services like Pandora, so where does Sony/ATV's direct arrangement fit in there?

But still, let's not allow such big questions get in the way of all the excitement. "We are very excited about this deal", Banider continues. "[We] believe what we have achieved is a major step in the right direction to ensure you are fairly compensated for the use of your music on streaming services". Good times.

Taylor Swift settles with clothing company
Taylor Swift has settled a legal dispute with US clothing company Blue Sphere out of court. The company accused her of infringing its 'Lucky 13' trademark by putting the phrase on her own merch. She had previously stated in interviews that thirteen was her lucky number, though apparently not in this case.

According to The Hollywood Reporter, Blue Sphere's lawsuit was originally filed in May 2014 and was set to go to trial in January next year. However, as the court date drew closer it appeared that certain aspects of Swift's business affairs were set to be brought up during the hearing which might have been embarrassing for the star. In particular, the plaintiff's had been investigating details of a number of her endorsement deals.

Swift's legal team had also been trying to prevent the singer from having to give a deposition - so, a pre-hearing testimony - claiming both a busy tour schedule and "harassment" in an attempt to ward off Blue Sphere's lawyers. However, in August the court said that Swift would have to give the deposition, though a date for this had not yet been reached before the settlement was agreed.

Details of the settlement have not been made public.


Ex-Sepultura frontman Max Cavalera loses libel case
Former Sepultura frontman Max Cavalera has been ordered to pay damages to his brother Igor's ex-wife, after being found liable for libel as a result of his autobiography.

According to Blabbermouth, Monika Bass Cavalera, who also managed Sepultura for a number of years after Max Cavalera left the band - his brother still being a member at that point - sued in 2014 over passages about her in the book 'My Bloody Roots: From Sepultura To Soulfly And Beyond'.

The frontman wrote: "I never liked Igor's wife. She was a bitch. They're finally divorced now, thank God. When we first met her, she tried to pick me up, but I didn't want anything to do with her. A couple of weeks later, she was with my brother, which I always felt was kinda weird, like he was the second best option or something. That always bugged me. But he fell in love with her anyway".

Elsewhere in the book, he suggested his ex-sister-in-law had always talked down to his brother and questioned her ability as an artist manager.

Bass Cavalera originally demanded one million Brazilian reals (approx £175,000) as compensation for the defamation, but was awarded 50,000 reals (approx £8500) at the conclusion of the trial.

Both parties may as yet appeal the decision.

Streaming outperforms downloads for Universal this summer, just
So, in amongst the usual dib dabs of stats for Universal Music that appeared in the quarterly financial statement from its parent company Vivendi yesterday, was the news that the mega-major made more out of streaming during the summer quarter than it did from downloads. Just. In that 51% of the firm's 450 million euros of digital revenue came from streaming.

This is the first time the majority of Universal's quarterly digital income has come from streaming platforms, though Warner Music passed that landmark earlier this year.

It's never entirely clear how the majors report streaming monies, in terms of how advances and such like are reported, and, of course, the streaming model should bring in more steady revenues across the year, rather than the spikes around busy release periods that are a feature of the CD and download market. Though, nevertheless, these figures confirm that the key record industry trend of the last eighteen months continues: downloads are tanking, streaming is booming.

A disproportionate part of that streaming income will come from premium subscription services, of course, even though more people consume streams via ad-funded platforms like Pandora, YouTube and the freemium level of Spotify.

It's known that Universal has become increasingly concerned about the margins on free streaming in the last year, though as the market matures, the industry needs to pull in ever more mainstream consumers who are never going to pay $10 a month for a standalone music service. But what's the solution? Better ad sales, more bundling or a leaner $2 subscription service? All three preferably, but concerns remain about what kinds of digital services can co-exist.

Elsewhere in Universal's third quarter financials, the major had pretty much flat revenues when currency fluctuations are removed, while earnings before tax and such like were down 24.5% to 114 million euros. For the year to date, revenues are up but profits are down.


TuneCore Australia launches
Digital distribution platform TuneCore has formally launched in Australia, following its arrival in the UK back in September.

Although US-based TuneCore has provided distribution and rights management services for artists around the world for years, the new local versions of the service mean acts in the UK and now Australia can make use of the platform in their local currency. TuneCore Canada and TuneCore Japan, meanwhile, have been operational since 2011 and 2012 respectively.

Confirming the launch of TuneCore Australia yesterday, the firm's CEO Scott Ackerman told reporters: "Our primary focus has always been to help music makers get their tracks and albums out worldwide for fans to enjoy. Our continued global expansion into the Australian market will help further our mission to bring more music to more people around the world, while also helping musicians and artists collect revenue through TuneCore's variety of services".


ASCAP adds percentage share info to its songs database
US performing rights organisation ASCAP has announced the addition of percentage share information to its publicly available songs database.

It means that when people search for a specific work in the society's ACE Database, among the other information already provided it will now also indicate what percentage of a song ASCAP controls when it comes to the exploitation of performing rights in the US.

Songs, of course, are often co-written and therefore co-owned by different publishers. This means that, if a third party wants to make use of a co-written work, they must do separate deals with each publisher.

Though, when it comes to the performing rights, a single licence is normally available from the local collecting society, which will represent all of the songwriters and publishers linked to a song, either directly or via reciprocal agreements with other collective management organisations.

Except in the US, where - although similar blanket licensing occurs for performing rights - there are four different societies representing songwriters and publishers, so the biggies ASCAP and BMI, and the smaller ones SESAC and GMR. Which means that a licence from just one society may not be sufficient to exploit any one song, depending on which societies its co-writers are affiliated to.

As previously reported, as part of the current review of collective licensing rules in the US, it has been proposed that any one collecting society should be able to completely license a song in which it has a stake - even if it's only a tiny stake - providing it passes on a share of the royalties to other societies or stakeholders pro-rata.

In theory that is already possible under US copyright law outside the collective licensing system - so, with sync for example - though in reality part-owners of a song would often refuse to do a 100% licensing deal without first consulting with the other writers and/or publishers that control a stake. And either way, publishers aren't keen for the 100% licensing system to be applied to the collecting societies.

One reason for forcing 100% licensing on the societies, though, is the argument that it is hard for licensees to know which PROs they need to have licenses from in order to make use of any one song. With the addition of percentage share information to its publicly accessible database, ASCAP aims to make it clearer whether its blanket license covers each song in its repertoire in its entirety, or just partially.

Announcing the addition of this extra information to the ACE Database system, ASCAP chief Elizabeth Matthews told reporters: "Songwriters and composers depend upon ASCAP to support themselves and their families. If public performance rights societies are going to survive and thrive in a global music economy driven by data, then we must be willing to be fully transparent regarding what shares of songs we are licensing. ASCAP is willing to lead the fight for greater transparency in this sector to support fair market value payments to our songwriter and publisher members and we urge other stakeholders to follow suit".

Audit Scotland to investigate T In The Park grant
Audit Scotland - which exists to provide "independent assurance to the people of Scotland that public money is spent properly, efficiently and effectively" - will investigate the £150,000 the Scottish government gave to T In The Park promoter DF Concerts - a Live Nation subsidiary - to help cover the costs of relocating the music festival to a new site earlier this year.

As previously reported, some have criticised Scotland's Culture Secretary Fiona Hyslop for providing the funding. Some of Hyslop's political rivals have questioned why such a popular commercial event needed state funding at all, while others have accused the SNP minister of "cronyism", because an initial meeting between the Scottish government and DF Concerts was set up by a one-time aide of former SNP leader Alex Salmond who was working for the festival firm at the time.

When the grant was recently discussed by a committee of the Scottish Parliament, Hyslop insisted that she was not aware that a former SNP aide had brokered her meeting with DF, adding that she was simply "standing up for T In The Park" when she provided assistance with the costs the annual event incurred when moving to its new base in Strathallan. But Audit Scotland has confirmed that it will nevertheless review the T funding.

According to The Scotsman, the auditing body told reporters: "Audit Scotland's work helps ensure the public can have trust and confidence about how public money is used. Given the public interest and correspondence we've received on this matter, we've decided to review the funding provided to T In The Park as part of the 2015/16 audit of the Scottish Government's consolidated accounts".

It went on: "We will look at the relevant governance arrangements and how grant funding was applied in this case. The outcome of our audit work will determine when we report on our findings. If and when we identified any issues, we would bring these to the attention of correspondents, the public and the Scottish Government during the course of the audit".

Apple Music launches on Android
Apple has launched its Apple Music app for Android, four months after it was made available to users of its own iOS platform.

The Android version of the app has more of the functionality available on Apple's own system than was perhaps expected. As well as the Apple Music streaming service, playlist recommendations, Beats 1 and the, erm, indispensible Connect thing, Android users also get access to their iTunes purchases (though not the full iTunes store).

They also get the three month free trail offered to those within the Apple ecosystem - even though some assumed the delay in launching this app was about cutting Android users out of that deal.

Speaking to Techcrunch, Apple's Eddy Cue said: "It's a full native app, so it will look and feel like an Android app. The menus will look like Android, you know the little hamburger they use on the top. It'll definitely feel very much like an Android app".

"We wanted customers on Android to naturally be able to use it", he added. "Things as simple as [that] the share icon looks like an Android share icon; the menu structure being where it is; these are things that most Android customers are familiar with. We wanted to make sure that they felt very familiar with Apple Music when they sat down to use it".

Techcrunch also notes that in a recent earnings call Apple CEO Tim Cook said that 30% of new iPhone users were switching from Android devices. As with the Windows version of iTunes, it is hoped that by giving Android users the Apple Music experience, they might be convinced to make the jump to the full-on Apple set-up.

In other Apple Music-related news, SBTV now has its own playlist on the service. CEO Jamal Edwards said: "We are very excited about joining Apple Music. We are all about supporting talent regardless of an act's current popularity or hype, and we are seeing this with Apple Music's curator playlists, which are doing great work spotlighting new and untapped music talent".

"We have a global following but our new Apple Music channel will be a great opportunity to magnify the reach of the artists we support", he continued. "We wanted to kick things off with a playlist which paid homage to the pioneers. Dizzee, Bruza and Choong Family were all influential in the early 2000s and it's great to be able to include them in our first Apple Music Playlist".

Check out the SBTV playlist here.

  Approved: Myrkur
Amalie Bruun has been releasing music for the best part of a decade in various guises: from bombastic piano-driven pop under her own name to indie-rock as part of Ex Cops and, in her other solo guise, Myrkur, black metal. Which is a range few would attempt, let alone pull off so skilfully.

Earlier this year she released her debut album as Myrkur - 'M' - through Relapse Records. An impressive blend of melodic black metal and Scandinavian folk, the album was produced by Ulver founder Kristoffer 'Garm' Rygg (a man also not averse to jumping between genres) and featured Mayhem and Nidingr guitarist Morten 'Teloch' Iversen. An album of extremes, its dark and light sides constantly at odds with each other, Bruun's songs in this guise are perhaps her most compelling to date.

Away from the album, recently release standalone single 'Den Lille Piges Død' - originally offered as part of Adult Swim's singles series, now more widely available - shows the juxtaposition of this sound at its fullest.

You'll be able to catch Myrkur live in the UK next March, with shows in Bristol and London supporting Deafheaven - a bill to send a shudder of distaste through any black metal purist. But for now, here's 'Den Lille Piges Død'.
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Those Busted tour dates we mentioned
So we mentioned yesterday, while the press conference was still going on, that Busted were back together. And that is a true fact. Charlie is back in Busted. Right in it.

"A year ago James and I got together and just started hanging out and it felt really different, somehow, to how it had ten years ago", says the Simpsomeister. "And the idea crept into my head after all that time apart: what would Busted look like today?"

They've recorded some new songs, but don't worry, the tour next year will be very much a greatest hits affair. Though maybe with one or two new ones thrown in so that you have time to go to the toilet. I hear the new songs are all called 'Toilet Break', actually. 'Toilet Break Part 1', Toilet Break Part 2', and so on. And they'll feature on a new album called 'Go To The Toilet', out next year.

Hey, that joke wasn't very funny, was it? I should probably delete it and replace it with something like, "They've been to the year 3000, not much has changed but Charlie needs to pay his mortgage", but I'm still holding on to these heavy tour dates and I'd like to put them down, so fuck it. Tour dates:

11 May: London, Wembley Arena
14 May: Glasgow, SSE Hydro
15 May: Newcastle, Metro Radio Arena
17 May: Sheffield Arena
18 May: Nottingham, Capital FM Arena
20 May: Birmingham, Genting Arena
21 May: Manchester Arena
22 May: Liverpool, Echo Arena
24 May: Cardiff, Motorpoint
25 May: Bournemouth, BIC
28 May: London, O2 Arena
30 May: Belfast, SSE Arena
31 May: Dublin, 3Arena

Tickets go on sale on 13 Nov. 9am. Be there. 'There' being the Live Nation website.

Beggars Group, Ole, Pandora, more

Other notable announcements and developments today...

• UK indie powerhouse the Beggars Group posted net profits of £3.8 million for 2014 on £42 million of revenue, according to its latest Companies House filing. This is down a little on 2013 and - Music Ally notes - in line with 2010 figures, aka Pre-Adele-21. So, as the Adele-25 spike looms, that probably demonstrates Beggars is performing well even without its superstar.

• Canadian music publisher Ole has bought record label Anthem Entertainment Group as part of a move into the label services business. "Entering" says CEO Robert Ott.

Pandora hoping to launch in the UK? What kind of crazy nonsense is this? Perhaps it hopes new best mate Sony/ATV will help it out on the publishing side to avoid a stand-off with PRS on rates this time. Good luck with that.

• Mariah Carey will play a role in the upcoming 'Lego Batman Movie', according to The Hollywood Reporter.

• There's a new Saul Williams single for you to listen to. Titled 'Burundi', it features Warpaint's Emily Kokal. Here's the video. New album 'MartyrLoserKing' is out on 29 Jan.

• Bad luck if you'd put money on Arca not releasing any more singles from his 'Mutant' album before it comes out on 20 Nov. Here's 'Vanity'.

• Daniel Avery has announced his first new release in ages, 'Sensation'. The single is also the Phantasy labels' 50th release. Listen here.

• Ty Segall is releasing a compilation of his singles and EP as Ty Rex. That's out on 4 Dec through Goner Records.

• Nordic Giants have a new video out. It's for 'A Thousand Lost Dreams'. It is a good video. Look. And they're on tour this month, starting tonight in Torrington.

• Port St Willow has a new album called 'Syncope' out on 20 Nov. From it, this is 'Ordinary Pleasure'.

Alanis Morissette and James Corden update Ironic
James Corden is still a big talk show host in the US. I bet you'd all forgotten that, hadn't you? I know I had. The irony.

Maybe you were distracted by the fact that he's just recorded a duet with Kylie Minogue. I know I was. And they're not even playing it for laughs. It's a genuine, earnest version of Yazoo's 'Only You'. It sounds like it was recorded for a John Lewis advert and everything. So ironic.

It's all a bit like rain on your wedding day, isn't it? Yes, that is exactly what it is like. Exactly. And now Corden has combined his talk show and duetting skills to bring another song into the 21st century. He hooked up with Alanis Morissette to create a new list of things that aren't actually ironic at all in song form.

To be fair, the new lyrics do reference the fact that none of the things they sing about are actually ironic. Very self-satirising. Mainly they run through a list of things that are annoying in the modern world: accepting a Facebook request before you realise someone's racist, failing to screengrab a Snapchat, a no smoking sign when you brought your vape, Netflix when you own DVDs. That sort of thing.

They also reference Twitter 'faves', when they were changed to 'likes' last week, meaning the updated song was out of date before it even came out. Oh my god the irony.

And here is the greatest irony of all, the video I've just written a massive lead in for isn't viewable outside the US. And who would've thought it figures...?

ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletin and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
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CHRIS COOKE | MD & Business Editor
Chris provides music business coverage and analysis. Chris also leads the CMU Insights training and consultancy business and education programme CMU:DIY, and heads up CMU publisher 3CM UnLimited.
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SAM TAYLOR | Commercial Manager & Insights Associate
Sam oversees the commercial side of the CMU media, leading on sales and sponsorship, plus helps manage and deliver the CMU Insights training courses and consultancy services.
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CARO MOSES | Co-Publisher
Caro helps oversee the CMU media, while as a Director of 3CM UnLimited she heads up the company's other two titles ThisWeek London and ThreeWeeks Edinburgh, and supports other parts of the business.
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