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A Music Legend Passes Away


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It seems Ray Charles has been around as long as I can remember, what an example of overcoming adversity to to become an icon. Truly an interesting life. I remember how everyone would imitate him playing the piano, but he really was a great musician, I guess the one song that comes to mind first is "georgia on my mind"

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My favorite Ray Charles song is "Hit The Road, Jack". It never fails to get my feet moving, and I love it when it's played at baseball games when a pitcher is knocked out of the game by opposing sluggers.

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They recently did some kind of dedication at his studio here in LA... Another big fan here--he was the real deal

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Georgia, Georgia, the whole day through

Just an old sweet song

Keeps Georgia on my mind

Talkin' 'bout Georgia

Georgia

A song of you

Comes as sweet and clear as moonlight through the pines

Other arms reach out to me

Other eyes smile tenderly

Still in peaceful dreams I see

The road leads back to you

Georgia, oh Georgia, no peace I find

Just an old sweet song

Keeps Georgia on my mind

Other arms reach out to me

Other eyes smile tenderly

Still in peaceful dreams I see

The road leads back to you

Georgia, Georgia, sweet Georgia

No peace, no peace I find

Just this old, sweet song

Keeps Georgia on my mind

Just an old sweet, sweet song

Keeps Georgia forever on my mind

R.I.P Ray, you'll be missed :wha':

post-92-1086901349.jpg

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I was a super fan of his duet with Willie Nelson Seven Spanish Angels.

He's a big loss to the music industry, but can still serve as an inspiration to everyday people.

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Ray Charles Dies

American icon was seventy-three

American music legend Ray Charles, who virtually invented soul and made his mark on rock & roll, blues, country and jazz, died today at his home in Beverly Hills, California; he was seventy-three.

Charles was born September 23rd, 1930 in Albany, Georgia, and lost his sight to glaucoma when he was a child. The pianist, arranger and composer is best known for his hits "What'd I Say," "Georgia on My Mind" and "Hit the Road Jack," and he won twelve Grammy awards and is a member of the Rock and Roll Hall of Fame.

Charles' disciple Van Morrison paid tribute to him our "American Icons" issue back in April. Below are his fitting words:

Ray Charles is proof that the best music crosses all boundaries, reaches all denominations. He can do any type of music, and at the same time he's always true to himself. It's all about his soul.

His music first hit me when I heard a live version of "What'd I Say" on American Forces Network in Germany, which I used to listen to late at night. Then I started buying his singles. His sound was stunning -- it was the blues, it was R&B, it was gospel, it was swing -- it was all the stuff I was listening to before that but rolled into one amazing, soulful thing.

As a singer, Ray Charles doesn't phrase like anyone else. He doesn't put the time where you think it's gonna be, but it's always perfect, always right. He knows how to play with time, like any great jazzman. But there was more to him than that voice -- he was also writing these incredible songs. He was a great musician, an amazing record maker, a great producer and a wonderful arranger.

There's a reason they called Ray Charles "the Genius"

read the entire article here:

http://www.rollingstone.com/news/story?id=...eregion=double1

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I have to give a nod to Shawn, Seven Spanish Angels was great. But Georgia was great too... and Hit The Road Jack........What can you say about someone like Ray Charles.... The man and his music, he is truly a legend :)

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dammit to hell...depressing news. RIP, Ray. :(

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Statement On Behalf Of Ray Charles (very interesting read)

The management of Ray Charles today issued the following statement after the death of the singer:

Music legend Ray Charles, 73, a 13-time Grammy® Award winner, known the world over as "The Genius of Soul," died at 11:35 AM (PDT) today at the age of 73, announced his publicist, Jerry Digney, of Solters & Digney.

He was surrounded by family, friends and longtime business associates at his home in Beverly Hills.

"Although he was very successful and owned a home in Beverly Hills, his first home was always his treasured studio, recently named a city landmark," said a saddened Joe Adams, the entertainer's manager for the past 45 years.

Charles' last public appearance was alongside Clint Eastwood on April 30, when the city of Los Angeles designated the singer's studios an historic landmark.

Last summer, it was initially reported that Charles -- born in Albany, GA, on Sept. 30, 1930, as Ray Charles Robinson -- was suffering from "acute hip discomfort."

As doctors began to treat the entertainer in Los Angeles and perform a successful hip replacement procedure, other ailments were diagnosed, and Charles ultimately succumbed from complications due to liver disease.

Prior to his death, Charles finalized a duets album, "Genius Loves Company," for the Concord label, his first new album since 2001 and okayed plans for the building of the Ray Charles Performing Arts Center at Morehouse College in Atlanta.

Norah Jones, BB King, Willie Nelson, Michael McDonald, Bonnie Raitt, Gladys Knight, Johnny Mathis and James Taylor are just a few of the notable artists involved with the project, which is scheduled for release Aug. 31.

"The duets project has been a tremendous experience," he said, at the outset of recording.

"I am working with some of the best artists in the business, as well as some of my dearest friends."

Charles was recently awarded the prestigious "President's Merit Award" from the Grammy® organization by its president, Neil Portnow, just prior to the 2004 Grammy® Awards, and was named a City of Los Angeles "Cultural Treasure" by Mayor James Hahn during "African American Heritage Month" in a February ceremony that he attended.

He also received the NAACP Image Awards' "Hall of Fame Award" on March 6.

An accomplished pianist and songwriter, Charles was considered the creator of the soul music genre, a unique R&B forerunner to rock n' roll and other musical offspring.

During a career that spanned some 58 years, Charles starred on over 250 albums, many of them top sellers in a variety of musical genres.

Blessed with one of the 20th century's most advanced musical minds, Charles became an American cultural icon decades ago.

Among his memorable hits are "What'd I Say," "I Got A Woman," "Georgia," "Born To Lose," "Hit the Road Jack" and "I Can't Stop Loving You."

He also gave the Ray Charles touch to such popular fare as the Beatles' "Eleanor Rugby" and "Yesterday."

Among the singer's most moving and enduring musical recordings is his oft-played rendition of "America The Beautiful."

Charles appeared in movies, such as "The Blues Brothers," and on television, and starred in commercials for Pepsi and California Raisins, among numerous others.

After going blind from glaucoma at the age of seven, Charles was sent to the St. Augustine, Fla., School for the deaf and blind, where he developed his enormous musical gift.

The young pianist eventually made his way to Seattle, Wash., performing as a solo act, first modeling himself after Nat "King" Cole.

While in Seattle, he met a young Quincy Jones and they became lifelong friends.

In the late 1940s, he began establishing a name for himself in clubs around the northwest, evolving his own music and singing style, which later included the famous back up singers, "The Raelettes."

While in Seattle, he dropped the "Robinson" from his name to avoid confusion with the legendary boxer.

A recording career began in earnest in 1949 and Charles soon started a musical experiment, which included mixing genres.

The experiments manifested themselves in 1955 with the successful release of "I Got a Woman."

It's reported that in devising the song, Charles reworded the gospel tune, "Jesus is all the World to Me," adding deep church inflections to the secular rhythms of the nightclubs.

"I Got A Woman" is popularly credited as the first true "soul" record.

The renowned entertainer, who had not missed a tour in 53 consecutive years of concert travels, had cancelled his remaining 2003 tour, beginning last August.

"It breaks my heart to withdraw from these shows," he said at the time.

"All my life, I've been touring and performing. It's what I do. But the doctors insist I stay put and mend for awhile, so I'll heed their advice."

While remaining in Los Angeles, Charles continued a light work load at his studios and offices, overseeing production of new releases for his own record label, Crossover Records, mixing a long-planned gospel CD and beginning work on the duets album.

A feature film based on his life story, "Unchain My Heart, The Ray Charles Story," starring Jamie Foxx as the entertainer, completed principal filming early last summer.

Charles' last public performance of his career was on July 20, 2003, in Alexandria, VA.

"Ray Charles was a true original, a musical genius and a friend and brother to me," said Adams, the entertainer's longtime manager and business partner.

"He pioneered a new style and opened the door for many young performers to follow. Some of his biggest fans were the young music stars of today, who loved and admired his talent and independent spirit."

In addition to multiple Grammy® Awards, including one for Lifetime Achievement, Charles is also one of the original inductees into the Rock and Roll Hall of Fame and a recipient of the Presidential Medal for the Arts, France's Legion of Honor and the Kennedy Center Honors.

He has also been inducted into numerous other music Halls of Fame, including those for Jazz and Rhythm and Blues, a testament to his enormous influence.

"You can't run away from yourself," Charles once said.

"I was raised in the church and was around blues and would hear all these musicians on the jukeboxes and then I would go to revival meetings on Sunday morning. So I would get both sides of music. A lot of people at the time thought it was sacrilegious but all I was doing was singing the way I felt."

Last May, he headlined the White House Correspondents Dinner in Wash., DC, at which President and Mrs. Bush, Colin Powell and Condoleeza Rice, were in attendance, and he also starred with Vince Gill, George Jones and Glen Campbell in a Nashville television special saluting country music's top 100 hits.

Charles' performance of "Behind Closed Doors" on the TV special garnered the evening's biggest standing ovation.

In 2002, Charles celebrated the 40th anniversary of his first country hit, "I Can't Stop Loving You," which became a number one chart topper and expanded the scope of the entertainer's career to the industry's astonishment.

Last year, the press-shy Charles sat for interviews in Los Angeles with film star Clint Eastwood, who conversed with the music pioneer about the blues for a documentary, "Piano Blues," seen on PBS, and also reunited with his longtime friend and early record industry patron, Ahmet Ertegun, founder of Atlantic Records, for a television profile on the record label legend.

Early last summer, he performed his 10,000th career concert at the Greek Theater in Los Angeles.

In May, 2003, he also received his fifth doctorate from Dillard University in New Orleans.

In 2002, Charles and Adams endowed both Morehouse College and Albany State Univ., in Charles' birthplace of Albany, GA, with substantial contributions, exceeding $1 million each.

Sixteen years ago, Charles established the Ray Charles Robinson Foundation for the hearing impaired.

Since its creation, the foundation, with Charles' encouragement and generous, on-going funding, has blazed a trail of discovery in auditory physiology and hearing implantation.

Each such implant procedure costs upwards of $40,000, which the Foundation pays to have done.

Of some 145-celebrity charities, the Ray Charles Foundation is rated by non-profit experts as one of the top five most efficient with zero administrative overhead.

Recently, a series of slot machines were designed in Charles' name for the visually handicapped and the legendary performer was also named a "living legend" by the Library of Congress in 2002.

He also starred in a concert in May, 2002, at the Colosseum in Rome, the first musical performance there in 2,000 years.

Charles once told an interviewer from USA Today, "Music to me is just like breathing. I have to have it. It's part of me."

Despite recent health challenges, Charles was planning to again start touring in mid-June and the sudden setback in his recovery was a great shock to all.

Eleven children, 20 grandchildren and five great grandchildren survive Charles, who will be remembered late next week at a memorial service at the FAME Church in central Los Angeles with interment at Inglewood Cemetery in Inglewood, Calif.

-this story was emailed to me so I have no source-

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very nice post method, thank you, an amazing list of accomplishments, it's nice to know he did receive some honors while he was alive, too many become greater in death than in life, not the case with ray charles.

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Found out about it tonight when i stopped in to visit my dad at news time...they played a statement he had made at some point time saying"When I'm gone all I want them to say about me was that he was real, his music was real"

No doubt about that...RIP Mr. Charles.

Have regretted not catching him at the Newport Jazz Fest 3 years ago for the past three years...doubly and thrice regretting it now. :(

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Some more insight about Ray Charles....

It's a Shame About Ray

The passing of an American musical icon.

By Stanley Crouch

Posted Friday, June 11, 2004, at 3:35 PM PT

Ray Charles

The true giants of American music are going fast these days, and the loss of Ray Charles is the latest example. We cannot stay in any previous period, artistic or historical. We can be bitter about the inevitable or we can recognize that this is a fact, as real as the fact of cold death.

One of my favorite Ray Charles moments occurred during an interview with Dick Cavett, about 35 years ago. On that particular evening, I and everyone watching saw something special. The two men sat in their chairs and spoke in that measured tone that can soon become boring in television unless something happens to lend an extra dimension to the conversation. Cavett, with all of his liberal certainty, was consistently shocked by Charles' answers to his questions. As the interview went on, one could see Cavett realize he had made some miscalculations. He'd assumed that because Charles was both black and blind, the interview would be given over to whining and crying about how hard it was for a Negro with a handicap in a country that was as racist as it was disdainful of the crippled, the blind, and the deaf.

But Charles surprised us all, black or white. He spoke of his self-determination, his independence, and how he had been well prepared to live his life as a sightless Negro by his mother. Charles told Cavett that his mother had never allowed him to escape any household duties or chores because of his blindness. His mother, he said, made sure that he made up his bed, cleaned up his room, washed dishes, and did whatever the other children were required to do. Her son was going to be prepared to live in the world, and she had no time for debilitating self-pity. She told him that there were always at least two ways things could be done: the way everyone else did them, and the way he would have to discover for himself.

Charles continued, telling Cavett how much he enjoyed riding on motorcycles and how much pleasure he drew from flying. Cavett, by then, had become cautious; he realized that he was in the presence of a black man who did not fit any of the clichés of the day and who had decided not to play a part that would make everyone happy by arousing their pity—always the problem of the handicapped genius. Charles said to him that if he were in a plane and something happened to the pilot, he had no doubt that he could safely land the plane in if he had a good ground crew guiding him. He might get banged up, but he would not be killed, Charles said with absolute confidence.

It was that kind of confidence that gave a charismatic clarity to Ray Charles' music and that allowed him to last much longer than any of the trends that brought him to public attention. Charles maintained his position in our pantheon of the rightly honored because his importance did not depend on audience whims. While he may have benefited from a couple of trends in his long career, his talent allowed him to transcend the high tide of momentary public fixation that dooms so many careers in popular entertainment. He was one of the invincibles—there were always plenty of people in America, and the world over, who wanted to hear his distinct sound.

His sound was his own, even though he had begun as a Nat Cole imitator. (It is always stunning to realize that an original artist had to build his or her own style along the way.) Charles could raise the heat on the bandstand and in the audience by the nature of his beat and by his extreme tempo control, which he made clear with his version of "Drown in My Own Tears," so slow that every drop of skill in his fellow musicians had to be brought forward to keep from either dragging it down or rushing it out of frustration. In his classic "Baby, It's Cold Outside," with the incomparable Betty Carter, he created one of the finest examples of romantic give-and-take between man and woman that we have in American music. Then there were his versions of Tin Pan Alley standards that always simmered with his special kind of soul. He conquered country-and-western music, and he sang "America the Beautiful" as it had never been sung before, with power and irony. We don't even need to talk about rhythm and blues or the blues or his love of jazz. He had a full house of talent.

But perhaps what Ray Charles did with all of his authority was help make the country and the world as blind as he was. Charles was one of those special few who expands the democratic experience by proving that neither color nor a handicap mean that one is less a man or less a woman. We couldn't ask more of a person in 73 years. He used every second.

http://slate.msn.com/id/2102328/

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And another:

The genius hits the road

Remembering Ray Charles as a man who sang to the soul of America, played the piano like it was a woman, and got us all to joyously shake our thing.

- - - - - - - - - - - -

By Charles Taylor

11, 2004 | Ray Charles, 1930-2004

He starts with the second verse, the one most people don't even know. Ray Charles' 1972 version of "America the Beautiful" begins with these words:

O beautiful for heroes proved

in liberating strife

Who more than self their country loved

And mercy more than life

America, America

May God thy gold refine

Till all success be nobleness

And every gain divine

Think about what that reordering does, what it means to hear those words before the familiar "O beautiful, for spacious skies ..." Beginning with images of sacrifice and death, then moving on to a prayer that asks -- with no guarantee of being answered -- that those sacrifices not be in vain, Ray Charles implies that America must earn the verse that follows.

"And you know when I was in school we used to sing it something like this," he says before beginning the words everybody knows. And so the purple mountains' majesty above the fruited plains are introduced as a legend we hear as children. They are not, in this version, God's bounty there for our taking, but the reward of a collective dream, a dream all the sweeter, all the more worth working toward because it will never fully be realized. God may or may not reward that striving, but as Charles sings it, the striving is where the concrete beauty of the country lies.

"America the Beautiful" is the least boastful of patriotic songs, and even so, Ray Charles' version teaches it a new humility. That Charles died -- yesterday, at 73, of complications of liver disease -- in the same week that saw the death of Ronald Reagan reminds you that Charles performed that song at the Republican Convention that nominated Reagan for a second term in 1984. And so what? That performance didn't make the song a lie. In some ways it was the best test the song could have. Could it be sung at that time in that place and not be co-opted, could it stand for something bigger than the circumstances, bigger even than the man who sang it?

Ray Charles was a gargantuan figure in American music, one of its essential voices, a small group that also includes Billie Holiday, Bessie Smith, Hank Williams, Frank Sinatra, Elvis Presley, Johnny Cash, Charlie Rich, George Jones and Bob Dylan. And yet the meaning of his career was that it stood for something bigger than he was. Along with Elvis (an artist for whom he had little respect), Ray Charles was motivated by a titanic appetite to encompass nearly every form of American music, which is why his career, like Elvis', is democracy in action. The story of his life -- born Ray Charles Robinson, a name he later dropped in deference to boxer Sugar Ray Robinson, into poverty in Georgia; blind, probably from glaucoma, from the age of 6 after seeing his brother drown; orphaned and on his own from age 15; a star at 24 and a heroin addict for some years after that (he kicked the habit after an arrest in the '60s) -- is an American story of making your own destiny. The story of his career is the story of the simultaneous and contradictory American desire to assimilate and to stand out. Ray Charles blended every form of music he could get his hands on -- and still made each sound like Ray Charles music.

The recombination of genres that would define Ray Charles' career began with a scandal. After some early recordings in which he emulated the smoothness of Nat King Cole, he released "I've Got a Woman" on Atlantic in 1954, a song that melded the blues with the fervid call-and-response of gospel. In his essay on Charles in "The Rolling Stone Illustrated History of Rock & Roll," Peter Guralnick quotes the blues singer Big Bill Broonzy as saying, "He's crying, sanctified. He's mixing the blues with the spirituals. He should be singing in a church."

In 1959 came "What'd I Say." The numbers tell part of the story: The song lasts six and a half minutes; it made No. 1 on the R&B charts and No. 6 on the pop charts; it was a million-seller. An unrecorded figure -- the number of radio stations that banned it -- tells the rest. What lyrics the song contained were mere shards -- "Tell your mama/ Tell your pa/ I'm gonna send you back to Arkansas" -- that momentarily halted the relentlessness of Charles' electric piano, on which he played a line that sounded like the most carnal prowling imaginable. But even that and throwaway lyrics like "Baby shake that thing" seemed like kid stuff by the time Charles and his backup singers, the Raelets (about whom was coined the notorious line, "In order to be a Raelet, you had to let Ray"), went into a call-and-response of the most openly sexual grunts, groans and purrs. Drawn out as long as they could manage, the moans eventually give way to the prolonged orgasm of the chorus.

Just as there are people for whom Elvis never fulfilled the promise of the Sun Sessions, there are those who consider nearly everything that followed "What'd I Say" a sellout. In 1959 Charles left Atlantic for ABC-Paramount and a series of albums that abjured hard R&B for sugary choirs of backup singers, show tunes and strings. And it was then, I'd argue, that he began to show the breadth of his genius (and to prove why purists have no place in popular music).

Greil Marcus answered the charge that Charles had compromised to reach a broader audience by noting that "reaching the broadest possible audience is what Charles' career has been all about." From the first ABC album, 1960's "The Genius Hits the Road," which featured the No. 1 single "Georgia on My Mind" (No. 3 on the R&B charts), you'd need to be almost totally lacking in imagination to believe this was a compromise. This was an ascent of Everest. The sheer variety of music Charles recorded at ABC, and the sheer confidence of his work there, was an epic undertaking, not all of it successful, but all of it an attempt to put his mark on as vast a swath of music as he could manage. The music may have been sweetened, but the string arrangements (most often by Marty Paich or Sid Feller), the impossibly white backup singers, gave Charles both something to work against and provided the perfect accompaniment to the heartache or joy in his performances.

t was a testament to Charles' instinct that the most successful album of the 14 years he'd spend at ABC was also his most visionary, 1962's "Modern Sounds in Country and Western Music." The proof of the wide audience Charles was reaching was that the album's hit single, "I Can't Stop Loving You," hit No. 1 on both the pop and R&B charts. The brilliance of the gambit was that where most people would think of R&B versions of C&W as a contradiction, Charles heard a consonance. Country, he realized, was white soul music. It shared soul's earthiness and literalism, it had the same sob in its voice, it had soul's simultaneous consciousness of Saturday night and Sunday morning.

Charles kept faith with country throughout his career. There was an indelible version of Buck Owens' "Crying Time" (on the album of the same name) in 1966 and, in 1984, one of his greatest moments, the title track of "Do I Ever Cross Your Mind?" on which he sounds battered and majestic, weary and ageless. Now, when country is known largely as airbrushed pop and real country stars like Loretta Lynn and Dolly Parton are kept off the radio, when it's still hip to speak of country and western as hick music and the people who make it or listen to it as hayseeds, Ray Charles' instinctive embrace of country seems more than ever a statement of belief in the inclusiveness of America.

If Ray Charles often seemed taken for granted from the mid-'60s on, it was, I think, because he had become a figure in American life who we assumed would always be there. He was forever turning up on some TV variety show or talk show, even if his records didn't make as big an impact on the charts or the public consciousness. That's why the riches to be found in those years still need to be heard (and most are still awaiting release on CD), offering as they do further proof of his achievement. Among the highlights are the 1966 single "I Don't Need No Doctor," a hard-swinging return to R&B that gives the Atlantic sides a run for their money; the version of "I'll Be Seeing You" on the 1967 "Ray Charles Invites You to Listen," the last half sung in a falsetto that eerily evokes Billie Holiday's version; the brilliant 1977 album that marked his brief return to Atlantic, "True to Life" on which he covered "Let it Be," "I Can See Clearly Now" and -- best of all and most improbably -- "Oh, What a Beautiful Mornin'," in some ways the hardest test he ever set himself. Who could ever have heard that song and imagined it would some day have soul?

It would be folly to pick one song to sum up a career like Charles'. But often when I think of Charles, the song that comes to mind is his version of "That Lucky Old Sun" from "Ingredients in a Recipe for Soul." The irony is that it's a song I can barely bring myself to listen to. Everyone has songs like that, ones that affect you so powerfully you don't always feel like you have the strength to hear them. For me, those are Frank Sinatra's "Cottage for Sale," Johnny Cash's "Give My Love to Rose," Dolly Parton's "Down From Dover" -- and "That Lucky Old Sun."

The song took on unintended poignance when it was released in November 1963, the same month President Kennedy was assassinated. You don't have to know that to be destroyed by it. The song is a workingman's lament ("Up in the morning/ out on the job/ I work like the devil for my pay") that aches for a deliverance that will only come from death ("Show me that river/ why don't you take me across/ and wash all my troubles away/ I know that lucky old sun/ he's nothing to do/ but just roll around heaven all day"). The mixture of longing and acceptance in Charles' voice is devastating, the sound of someone both heartened and taunted by the glimpse of a paradise he can see but not yet attain. But Charles' voice, that of a man tied to this world, provided its own kind of deliverance. Just as he gave soul to "Oh, What a Beautiful Mornin'" he gave the proof to one of its lyrics -- in his hands the sounds of the earth are like music.

http://www.salon.com/ent/music/feature/2004/06/11/charles/

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