Introduction

I’ve had a leasehold on davidsimon.com for years now.  People smarter than I am told me that even if I had no sense of its use at present, I should throw a few shekels down in case.  But until recently, I saw no reason to do much of anything with the site.

My ambivalence rests on a couple basic ideas:

  1. I’m a writer, and while I’m overpaid to write television at present, the truth is that the prose world from which I crawled — newsprint and books — is beset by a new economic model in which the value of content is being reduced in direct proportion to the availability of free stuff on the web. In short, for newspapers and book publishers, it has lately been an e-race to the bottom, and I have no desire to contribute to that new economy by writing for free in any format.  Not that what is posted here has much prolonged value -— or in the case of previously published prose, hasn’t soured some beyond its expiration — but the principle, in which I genuinely believe, holds:  Writers everywhere do this to make a living, and some are doing fine work and barely getting by for their labor.  Anything that says content should be free makes it hard for all writers, everywhere.   If at any point in the future, this site offers more than a compendium of old prose work and the odd comment or two on recent events — if it grows in purpose or improves in execution— I might try to toss up a small monthly charge in support of one of the 501c3 charities listed in the Worthy Causes section.  And yes, I know that doing so will lose a good many readers; but to me, anyway, the principle matters.   A free internet is wonderful for democratized, unresearched commentary, and it works well as a library of sorts for content that no longer requires a defense of its copyright.  But journalism, literature, film, music—  these endeavors need people operating at the highest professional level and they need to make a living wage.  Copyright matters.  Content costs.
  2. This stuff takes time.  And those who know me understand that while it is refreshing to meet people with no opinions, I am not that fellow. I like to argue.  I don’t take the argument itself personally — and I am often amazed at so much outsized commentary that assumes otherwise — but rather I delight in pursuing a good, ranging argument.  It’s why I value a writer’s room so much.  It’s why I used to love a healthy newsroom, which I have described as a magical place where everyone disagrees with everything all of the time.  Arguments make the work better; when people stop arguing, or at least arguing intelligently, absent the usual half-assed, rhetorical cheating, the work invariably suffers.  So, for me, any dialectic is a temptation.  And I may find that given so much work I owe already, even a brief sortie into an issue or two or a stray comment on current events will sound as a siren song.  I may want to shut this venue down three weeks after anyone finds it, if they do.  I may, forgive me, find that I need to disable the comments and simply use the blog to highlight stuff and then run like hell.  Apologies in advance if it comes to that.

On the positive side of the ledger:

  1. Every now and then, over breakfast, or in the office, or late at night, I read something or hear something that impresses or infuriates or amuses, or that provokes an interesting back-and-forth between family members or colleagues.  An argument or discussion gets good, a joke ripens nicely.  It’s stuff that isn’t going into a script or into any shard of published prose, and its shelf-life is often short.  Maybe that’s what a blog is for.
  2. It’s nice to have a small billboard with which one can highlight and link to the work of others we admire, to simply recommend the good stuff. And, similarly, it helps to highlight the non-profit affiliations supported by the projects that we’re working on in Baltimore and New Orleans.  Maybe a bit more good comes from such.
  3. In these later years, I’ve come to discover that from time to time, media folk call me to ask a question or two.  Being exactly who the hell I am, I actually haven’t done much until now to filter my answers.  I speak bluntly, but speaking, alas, isn’t writing, and very recently, I had to waste half a weekend swimming through some foment of my own creation.  For lack of clarity, I managed to say something that I not only don’t believe, but that is contradicted by every other interview that precedes it.  The fault was largely my own, but a remedy, I realized, was problematic.

Calling back the reporter who had used what I thought was a specific critique in the most general and absurd way, I found that I was either obliged to continue working through him to correct the record — and trusting in a dynamic that had failed already, or alternatively, I had to offer myself up in another interview to a reporter who I knew for certain would endeavor to deliver my answers in context, but who was more interested in other topics than the one which concerned me.

And in the middle of this, my wife — who uses both words and the internet better than I do — reminded me of the long fallow field of  davidsimon.com. If that thing was up and running, she pointed out, you could simply say, in your own words, precisely and carefully what you intended to say in the first place, without having to rely on a filter.  This is the grand triumph of the internet, after all; there’s no arguing with the democratization inherent.  You could, she told me, simply say what you meant and have that on the record.  The simplicity of this had considerable appeal.

So here goes.

Don’t send screenplays, or manuscripts for quotes, or actor glossies.  Please.  There are professional venues for such and if stuff comes to me correct, I do the best I can.  Promise.  If it comes at me through this venue, I won’t — can’t — respond.  Counterarguments and counterprovocations on any given issue — let’s say that again, issue — are entirely welcome, whether I have time to respond or not. Ad hominem rage, flattery and posted links for cheap timeshares, naked photographs of your ex-girlfriend at a small monthly fee and invitations to a larger penis in just weeks are politely discouraged.

Best,

David Simon

 

307 Comments

  • Dear David
    I’m a Mexican journalist, focused on violence and drug policy all over Latin America and because of that background I’m a huuuuuuge fan of your work. (I’m embarrassed for being this kind of groupie, but homicide has been a Bible for me after a three year investigation in the seven countries with the highest murder rate in Latin America and I watch all your series religioulsly. I’ve seen The Wire four times).
    Anyway, don’t wanna annoy you with my fanaticism. I’m writing you because I’m producing a digital event about drug policy in the Americas through my journalistic production company Dromómanos and I would love to invite you to give a conference about the influence of the drug war in fiction. Or if you prefer I can interview you. I would just take 30 minutes of your time. I know you are very busy but I believe that to have your point of view and experience about this matters can be very fullfilling for Spanish speaking people interested in this topic. We can adjust to your schedule. It would be lovely to meet you and chat a little bit with you. Hope this message isn’t a bottle to the sea and hear from you soon. I can give you more details of my work, the event, the interview, whatever you need.
    Also ere’s an article in English of our homicide investigation: https://www.nytimes.com/2017/07/15/opinion/sunday/latin-amherica-murder-homicide.html

  • I’m SO very late to the party!!! Just finished watching Treme and am blown away by it. I procrastinated watching the last 2 episodes because I didn’t want it to end, but caved in when it was due at the library. Huge props to you! The writing was superb, the acting amazing and believable, but most affecting was the immersion into the culture and musicality of New Orleans. I learned so much, all while being entertained.

    My siblings, who first discovered Treme, have encouraged me to watch The Wire, but Treme will be tough to match—EVER!

  • The late Great Notorious RBG had it locked in. The only way that we are ever going to achieve progress for the disadvantaged is to re-arrange the game so that a rich white man can feel selfish doing what you want him to do. The Kobayashi Maru of politics. Until the vote is mandated for every American of every shade and two party politics is diluted or disposed of, we are in a death spiral. We came up with a poorly formed attempt to start the journey down that path http://www.nopartymovement.org. Strikes me that we all would be well would be well served to pivot from pointing out that the game is unfair and pointing to people and causes, there are many, already working to change the rules of the game so the Rich White man can be incentivised to do what is right by being self serving. Imagine the rich construction company bigot suddenly closed out of infrastructure contracts because his state no longer could receive Federal Highway funds. Suddenly, that asshole would see the wisdom of making sure every citizen had the right to vote so that he could profit.

    Over the past several administrations I have watched with increasing discomfort as voter suppression efforts have contributed to the rancor of the political sphere. Over the past four years that discomfort morphed to anger, then to fear, then to a sense of desperation. At least in part to feel like we were doing something during the year of covid, NPM came up with an idea for a go fund me website and a hat design to sell (maybe to use to fund other projects) that struck a cord as having an underlying positive message we could all use right now as well as a bit of a sharp edge that said to me the sentiment we need to embrace to move on now that we have, hopefully, awoken from the nightmare. Probably just to exorcise demons, but also to keep the design from being hijacked to support anti-american/post truth causes, the website “nopartymovement.org” has a poorly worded rant outlining the thinking behind the designs. That website has a section called “The Path” that is meant to be a call to action for one way that organizations like yours might take this moment and do an end run on the need for a Voting Rights Act (it’s still needed, but this idea in complementary) by advocating giving the voices of voter suppression exactly what they want, safe secure elections that can be verified and kept free from fraud and malfeasance for the low low cost of not only allowing but also requiring the citizens to vote.Please start featuring organizations like the League of women voters who operate from a nonpartisan base to facilitate universal franchise. Contact voting rights giants like Stacy Abrams and get something like All Votes Matter started. We have a very short time to get this done and baked into the system. Its a budget item so it can be done by reconciliation. Uniteamerica.org, representus.org also good sources.

    The nation needs this for survival

    Noparmo ITINST
    You can call me “Nope” just don’t tell me no.

  • Thank you for THE CORNER Mr. Simon ! It didn’t take much research to learn of the tremendous amount of hard work and dedication involved, not to mention the emotional investment and the toll that can take. I like many genres of true stories but if I had to pick a top 3 out of hundreds, The Corner would make that list. A story still relevant to this day. The people and their daily lives are simply unforgettable. GOOD PEOPLE ! You changed many high and mighty attitudes on drug addiction, including my own. I couldn’t help but notice on Youtube ,the story still attracts new fans on a regular basis.

  • Hello Mr. Simon,

    I have had a keen interest for your work ever since I discovered The Deuce a few years back, when my Sociology professor told us about the series, along with The Wire. He kept saying both were definitely worth watching, and I finally took the time to watch The Wire this year.

    When it comes to The Deuce, I have watched it twice and it was a true source of inspiration for me: indeed, I am currently working on my Master’s thesis revolving around the eroticization of American visual culture from the vantage of the movie industry in the 1970s and early 1980s. I figured that shedding light on such a topic would help fill a gap in the historiography of the period, which tends to focus solely on pornography and not enough of the interdependence between the porn industry and the mainstream industry, epitomized by Hollywood. I was so amazed by what I saw in The Deuce that I could not help but dig into such a fascinating yet intricate era. If you ever read this post and would be willing to talk about it over Zoom (I am currently in France) or via email, more specifically about your historical sources for the series, its plot and characters, I would be delighted to hear from you.

    As for The Wire, here are my thoughts on a few episodes of season 4, by far my favorite, which I had to focus on for a seminar about ethnography with my American History professor.

    Season 4 of The Wire sees the introduction of the school system as a new prism to tackle inner-city poverty and ghetto life in Baltimore. Former cop Roland Pryzbylewski becomes a math teacher at Tilghman Middle School and we see him struggling to get the students’ respect and attention in class. Throughout the season, we especially get to see the lives of four students attending Tilghman, namely Michael, Randy, Duquan and Namond. Not only do we get to see both the teachers’ and the students’ point of view as insiders of the school system, but we are also provided with the vantage point of a team of researchers, including former Major Howard Colvin, who investigate on violent behavior and set up a special program for ten eighth-graders, considered as « corner kids ». All three angles come up with a thorough criticism of the school system as a whole, all the more abandoned by local authorities that the mayoral elections are a top one priority. Because they tackle drug dealing in an inner-city neighborhood, the school system and inequalities of access to education for African-Americans in poor neighborhoods along with their living conditions in and out of school, these four episodes appear as a synthesis of all the ethnographical works that we have focused on these past few weeks.

    Out of the four Tilghman students that we closely follow in this season, not one has the « regular » life of a teenager. We see the kids evolving in different environments: at home, on the streets, and at school, and all prevent them from being teenagers, as they live in harsh conditions or already have adult responsibilities and simply cannot study for school. They are also faced with violence and crime in their everyday life. Episode 5 struck me as a crude depiction of such violence, clashing with the kids’ innocence: in the opening scene, they argue over Lex’s death, and Namond claims that he has been turned into a zombie by Marlo’s men. In the last scene, Duquan shows Michael and Randy a dead body in the vacants, thus proving them wrong. The dead are dead, whereas it is the living who can appear like zombies, such as the zombie-like drug addict that frightens the kids right when they are talking about Lex. This particularly scene in episode 5 is also a striking example of the style of the series as a whole, which I would characterize as the meeting place of cinema and documentary filmmaking: it is fiction that tells the truth. Here is the link to a compelling analysis of style in The Wire, which I highly recommend: https://www.youtube.com/watch?v=ufs0Rwx8sOk.

    In the meantime, Roland Pryzbylewski, whose storyline is based on Ed Burns’ own professional career from the police department to a Baltimore middle school, tries to make it in the system and make the best out of the system for the kids. After struggling quite a while to earn the students’ respect and attention in the classroom, but also aware that the school system reproduces inequalities and fails the kids, he eventually manages to teach what he can and what is useful for his students. While the curriculum and the national test are not adapted but are still imposed upon both teachers and students by the school administration, urging them to do their best so that the school is not taken up by the state, Prez aims at providing the students with basic skills. When he learns that they like to play dice, he teaches them about odds and shows them how math can be of interest to them: « You gotta trick them into thinking they’re not learning, and they do », says M. Prez says to his colleague Mrs. Sampson in episode 7.

    Inner-city middle schools like Tilghman are poorly funded (as evidenced by the huge 54-million- dollar gap concerning Baltimore schools in season 5), and they do not help the children get out of poverty through education. But what the kids « learn » at school is also completely out of touch with their everyday lives and what they go through or witness when not at school. Such a statement is the basis of the research program that Colvin participates in at Tilghman, in which he observes Namond and other « corner kids » in a small class designed to better answer their needs. Out of forty kids identified as « corner kids » — as opposed to « street kids » — by the school administration, only ten get are targeted for the special program, therefore demonstrating that the school is overwhelmed with students whose behavior is problematic in school, for those who even attend school on a regular basis. Colvin’s outsider perspective and Prez’s insider perspective complement each other on two grounds. First, they both quickly become aware of the divide between school and students’ daily life on the streets and at home. Namond’s « fuck you » argument with Colvin epitomizes the students’ lack of interest toward what school has to offer them. After struggling with the students for quite a while, the team of researchers eventually succeeds at getting their attention by making them talk about what they know, namely life on the corners, just like Prez gets his students’ attention when he teaches them about odds and playing dice.
    What I particularly enjoy with The Wire is how it does not fall into the dichotomy agency v. structure, and I guess it corresponds to the comparison David Simon has often made between the series and Greek tragedy. Individuals are doomed and they know it, but they still struggle no matter what. In episode 8, while the students in the special debate on drug dealing and being on the corners, Zenobia states that « yeah [they] got [their] thing, but it’s just part of the bigger thing ». As exemplified by such a remark, the texture of the series is one of individuality dovetailing with structural forces. For instance, while the « corner kids » are part of the special program because they have « beat the system » and therefore « won », to quote Colvin, Prez does everything he can to prevent Randy from getting « shoot up by the system » when he talks to Daniels about Randy’s involvement in Lex’s murder.
    That brings me to the second element that binds together Colvin and Prez’s perspectives. While both of them used to work as police, Prez becomes an insider easier than Colvin, because he is a teacher at Tilghman, whereas Colvin has an observational position and remains more of an outsider to the school and the students. Colvin’s position is relevant for the point that the creators of the series tried to make in this season, which consists in showing to what extent the school system resembles the police. When the « corner kids » are introduced to the new special program dedicated to them in episode 6, their immediate reaction is to say that it looks like prison, and Colvin answers: « This is solitary, this is a hole up in here ». In episode 8, Colvin makes another parallel between school and the police. Indeed, when the assigned teacher for the social program asks the students where they see themselves in ten years (they answer NBA or dead). Colvin therefore notices that for these kids, school is « training for the street. Building’s the system, we the cops… there’s no real danger here ». Students do get education at school, but not the one intended for them by the school system: they get the education that they make by themselves out of whatever options their environment offers them. For example, Randy learns to run a small business selling goodies on the school premises. Turning to the school system as another example of institutional failure in Baltimore, the creators of the series allow us to draw a striking parallel between the kids and the drug dealers of the city. Indeed, as I saw the environment in which the kids evolve, I could not help but think of how the adult drug dealers I had become familiar with ever since season 1 must have grown up in more or less the same conditions.

    All in all, the series is everything but a feel-good story for a particular audience. To reflect on what we said last week about Hoop Dreams, there is no Gene Pingatore in The Wire. Characters and their storylines are too intricate to make anyone feel good about themselves after watching the series. On the contrary, it makes us think about the extent to which local institutions participate in the downfall of a city and can explain the city’s (lack of) management of poor neighborhoods. I will conclude with David Simon’s own words from an interview with The New Yorker in 2007, describing The Wire as « perhaps the only storytelling on television that overtly suggests that our political and economic and social constructs are no longer viable, that our leadership has failed us relentlessly, and that no, we are not going to be all right ».

    Thank you for your work, which has taught me quite a lot and inspired me in so many ways.

    Best regards,
    Joanna Johnston, a grateful French-American student.

  • Please critique my essay:

    In this country the government puts people to death for murdering a single person.
    Surely we cannot lay every death on the current administration. Every country has lost lives due to this plague.
    So let’s accept that 100,000 mothers, brothers, friends and nephews would have died no matter what.
    Let’s be even more generous.
    Let us assume that even under an administration that encouraged masks and social distancing, lead by example, embraced the advice of the most experienced experts in epidemiology, that did not eliminate the CDC department specifically dedicated to preventing death at this unimaginable scale, that leveraged the full power of the richest nation on earth that has the closest thing to infinite resources as any society in history, we still would have lost 200,000 grandfathers, nurses, soldiers, children, nieces, mentors and neighbors.
    Let’s assume that the reporting that they had begun to form a national response, but decided to stop because they thought Covid would only decimate densely populated democratic states is complete fabrication.
    Let’s throw in another 9,862 human lives just for fun.
    That still leaves 1 person. (as of 8:51pm 10/3/2020).
    A person who died slowly and horribly and completely alone.
    I abhor the death penalty. So it is only because of my mild desire to avoid hypocrisy do I barely wish this monster anything other than than an agonizing death.

  • David,

    I hope the week is finishing-up well for you. I’ve read and I watched most of your work and I’m a big fan.

    I’m a PhD candidate at an east coast school and I’m writing my dissertation on the carceral state with a particular focus on Baltimore. I’ve been working on the project for almost 4 years. I’ve done several oral history interviews with subjects ranging from a civilian review board member to a retired detective. I’m hoping to offer as many perspectives as possible.

    I’d be interested in doing an interview with you if you’re open to it? Two of my chapters analyze mass-media. I look at both The Wire and the Baltimore Sun. Nonetheless, even a short conversation off of the record would be a thrill. I live about 3 hours from Baltimore, but I’m in the city quite often.

    I look forward to touching base and thank you for the consideration.

    Sincerely,

    Joseph

  • Have you read ‘The Short and Tragic Life of Robert Peace’ by Jeff Hobbs. For some reason, I fixate on the moment – when the deadline for his application to Johns Hopkins is missed – as the defining moment in which this young man’s life would have turned out very differently. If you have read the book, I’d really like to hear your thoughts.

  • What I hope, in the 280-odd comments here, that I’m not alone in acknowledging the honor you’ve done Phillip Roth in your production of “The Plot Against America.” It is intimate and huge as the novel, a work of incredible restraint and intricate anger. I do not know if Roth had any involvement. But the year Phillip Roth died, the Nobel Prize went to Bob Dylan, and the single great novelist of the last 50 years died knowing that some fucking Swede hated “Portnoy’s Complaint.” But what you’ve produced is the fuller honor to Roth, of letting the novel and the film tell the story in complete congruence.

    Now, if you have the time, please set a team loose on “The Great American Novel.” It would be an impossible screenplay, but wouldn’t it be pretty to see it?

  • David, thoroughly mesmerized by the degree of accuracy in going back to the 1940’s New Jersey. I did want to mention that the actual date of the German Bund Rally at Madison Square Garden was Feb 20, 1939, before the Polish invasion. I definitely enjoy the podcasts following the episodes with Peter Sagal. BTW as a fellow MOT have distant relatives in Baltimore.

  • Hi David;
    I was listening to the first podcast for The Plot Against America and pleasantly noted your mention of Lend Lease. I just wanted to mention that My Father, Philip Light, was tasked by FDR and the Treasury Dept. when he was 28 to draft the actual Act itself.

  • Hi David,

    Reaching out to you here may be a bit far-fetched but here goes: I’m an undergraduate student at UPenn taking a class on HBO in the Annenberg School. The dean is challenging us to conduct deep-dives on series and I’ve decided to examine The Wire. Would it be possible for me to speak to you about the show and its continuing relevance 1) in an era of mass-produced media around police and their relationships to the communities around them and 2) alongside new HBO series driven by social inequity such as Watchmen? Would be delighted to hear back from you, take care.

    Nikki

  • Greetings, David:

    My colleagues and I just saw the trailer for “The Plot Against America” and want to get in touch with you. Our organization, Jewish Community Relations Council of Minnesota and the Dakotas (JCRC), was founded in 1939 to combat institutional antisemitism and secure a safe and inclusive future for the Jewish community in Minnesota.

    One of the first significant challenges our organization faced was the incitement of Charles Lindbergh against the Jewish community. As our executive director wrote in an op-ed in 2017 (http://www.startribune.com/msp-terminal-namesakes-at-the-very-least-it-s-time-for-a-reordering/443112753/), historian David Wyman analyzed the pervasiveness of anti-Semitism via national public-opinion polls from 1938 to 1946 and concluded that as many as 35 percent to 40 percent of Americans were prepared to participate or support “a widespread campaign against Jews in this country.”

    We were moved by what we saw in the trailer. It seems the series will enable the viewer to visualize what such a campaign would look like.

    Today our organization works to combat antisemitism, educate about the Holocaust, build relationships with other communities, and safeguard Jewish individuals and institutions in a heightened threat environment.

    This was a long prologue to ask if you are available to be the featured speaker at the JCRC’s annual fundraising dinner on June 7, 2020. We would love the opportunity to promote your show and for people to hear from you what went into making the series.

    Please contact us if you are interested in discussing this further.

    Thank you,
    Sami

  • Hey David,

    I’m a little late to the party so to speak, but I just want to say thank you for creating and writing a great work of fiction that is The Wire. I watched the entirety of the show over the summer and fall in 2019, and I was amazed by it. I know that your experiences with the Baltimore Sun helped you with the creation of the show. And I’m not trying to water down the ongoing issues of your city to mere props or tropes for television. I was just struck by the honesty and realism of the show that made it so captivating. I think some of the best prose come from real life experiences. I live in rural Minnesota, and am a writer (mostly for my own pleasure at this time), and your kind of writing actually is kind of like mine. As much as I love where I live, I don’t glamorize or sugar coat what goes on around here. It is what is. As a humble radio announcer, I can’t do much to change it. (Corporate doesn’t like commentary) That being said, the show The Wire actually has made me want to go visit Baltimore. From what I’ve read and seen, it seems like a beautiful city, albeit with its own issues. Every location has its baggage, but every location has its charms as well. Like I said, I lived in rural Minnesota my whole life and I have traveled very rarely away from there, but I have had a desire to travel and see the world.

    Have a good start to the decade, sir!

    -Jason Hocum

  • Hi David,
    Sorry – this is somewhat vague – but, I was just wondering if there was anything new with a project I heard (!) you were working on about The Pogues? True or false?
    Take care.
    Benjamin.

  • “highlight stuff and then run like hell” lol reminds me of a gif Paul Wesley recently liked on Twitter that a fan said reminded them of him to which he said “accurate” lol

  • Hi Mr. Simon,

    I am a student at Swarthmore College. On behalf of a student club, Purple Tree, and the Philosophy Department of my school, I am very honored to invite you to speak at our college in the next two years.

    Personally, I am very excited to invite you. I started watching The Wire last year and became a huge fan. To me, the show is both sobering and refreshing. It is sobering because, as I am an international student from China, the show introduced me to aspects of American lives that are often swept under the rug. It is refreshing because it answers some of my questions about work (school work/career): What is it for? How should I treat it? I realized if I treat work only as climbing the ladder and behaving well around my bosses, I would be enslaved by my job like Burrel or Rawls. Yet, putting in medium efforts and maximizing pleasures outside of work isn’t a way out either, I might end up mediocre like Carver or Herc. The solution seems to involve taking ownership of one’s work and doing it with integrity, like Cedric, Jimmy. One needs also to balance personal ideals with requirements of the situations, acting one-sidedly on one’s agenda can be counterproductive, as Lester cautions Jimmy.

    I believe those messages from your show are valuable not just for me. They are important for college students and especially for students at a small liberal-arts college like my school. Living inside an idyllic bubble, we often forget the alienating demands of the modern economy. Our dreams lack basis. When faced with challenging demands, we are easily persuaded to cede to hollow slogans like “make the world a better place” or simply give them up.

    So it is my sincere wish that you may be able to visit our campus. Our club, Purple Tree, is devoted to bringing in discussions of Politics, Philosophy and Economics. Your work as well as your life experience can teach us a great deal about capitalism and our place within it.

    We would be happy to cover any traveling expenses to and from Swarthmore. We can also provide accommodation at the Swarthmore Inn nearby.

    Please let us know by email. We look forward to hearing from you.

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