Shaggy 2 Dope – “Professor Shaggs & the Quest for the Ultimate Groove” review

Shaggy 2 Dope is a 48 year old MC, producer, DJ, former professional wrestler & podcast host of The Shaggy Show from Detroit, Michigan who formed the Insane Clown Posse with his late older brother John Kickjazz alongside his best friend Violent J & the late Kid Villain. But for the past 3 decades, the Southwest Strangla & the Duke of the Wicked have spread the word of the Dark Carnival whether it be the first 6 Joker’s Cards or the label that runs beneath the streets Psychopathic Records. However, it is widely known that 2 Dope was the first of the Clowns to go solo with his 1994 debut EP Fuck Off! produced by Mike E. Clark as a prelude to the shelved full-length Shaggs the Clown. He eventually returned on his own in ‘06 with F.T.F.O. (Fuck the Fuck Off) & here we are on the 6 year anniversary of his DJ Clay-produced sophomore effort F.T.F.O.M.F. (Fuck the Fuck Off MuthaFucka) witnessing Stretch Nuts returning over 4 years after Gloomy Sunday by dropping his 3rd EP.

“Clown Boi” is a trap opener produced by Shaggytheairhead with Bazooka Joey talking about the only 2 words that he knows are seek & destroy whereas “Illuminati Don’t Want Me” works in some synthesizer patterns & hi-hats to make it known that he ain’t weak or snotty whatsoever which has been historically proven. “Defy” is an electro-trap hybrid talking about disobeying or resisting everything from love & hate to gravity with a fresh reference to “Stomp” off my 2nd favorite sideshow EP Tunnel of Love during the first verse just before “Done Giving a Fuck” takes a cloudier route with the title saying it all that he’s doesn’t have any fucks to give anymore.

Meanwhile, “How Ya Been” begins the final leg of the EP with a smooth trap ballad with Shaggs warmly declaring that everyone’s welcome here while the song “This Ain’t That Bitch” has an eerie vibe courtesy of his lil brother Tre Lb & a Carnival of Carnage title track sample during the hook calling out all the bitch boys. The penultimate track “The Quest for…” has some crazy beat switches throughout courtesy of DJ Clay & 2 Dope talking about looking for the ultimate groove of course, but then “The Ulimate Groove” ties things up with an EDM closer.

It breaks my heart to see people trying to slander the Duke’s name as a juggalo kid from Detroit & as much as I appreciated Bloody Sunday for being darker than J’s previous solo efforts, solo Shaggy never disappoints & he once again proves his point here. The production is eclectic in sound & he continues to expand on his lyrical elevation as shown on the Yum Yum Bedlam era output as phat as he’s always been. Fuck all the toxicity & drama, everything boils down to the music at the end of the day & that’s the only thing that matters to me until I’m dead in the ground.

Score: 4/5

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Lil Durk – “Almost Healed” review

This is the 4th full-length album from Chicago rapper Lil Durk. Rising to prominence a little over a decade ago off his debut mixtape I’m a Hitta, he would go on to follow this up with Life Ain’t No Joke & the first 2 installments of the Signed to the Streets trilogy until signing to Def Jam Recordings for his full-length debut Remember My Name & the sophomore effort Lil Durk 2X. Since then, Durk has made himself home at Alamo Records by 9 more mixtapes & is looking to bounce back from the mixed reception of 7220 due to it’s weak production yet admirably more personal subject matter in the form of Almost Healed.

After the “Therapy Session” intro, the first song “Pelle Coat” starts off the album with an mellow trap instrumental from Chopsquad DJ explaining why everyone’s scared to come outside this day in age whereas “All My Life” featuring J. Cole despite the positive message of people always trying to bring them down was a disappointing choice for a single largely due to Dr. Luke’s sanitary production. “Never Again” works in some pianos & hi-hats talking about not helping others ever again prior to “Put ‘Em on Ice” telling everyone that nobody is safe over a rich trap beat.

Chief Wuk delivers one of the weaker feature performances on “Big Dawg” as they discuss only hating it when their bitches are on lil girl shit on top of a distorted instrumental just before “Never Imagined” featuring Future makes up for it with a more colorful trap vibe talking about the way they’re living now. The beat throughout “Sad Songs” is a bit of a nonstarter for me personally addressing a pretty lil liar, but then “Before Fajr” talks about people hating him for being more famous & Southside’s production here has a lot more going for it this time.

“War ‘Bout It” featuring 21 Savage make it known that you can’t discuss any criminal activity that you’ve ever been involved with as Metro Boomin’ supplies more keys & hi-hats while “You Got ‘Em” talks about perc poppers not being his friends except we have one of the weakest instrumentals on the album yet again. “Grandson” featuring Kodak Black has a hazier flare sonically courtesy of both Metro & Zaytoven as they discuss the lifestyles they live while “300 Urus” making it clear there’s a reason some ain’t with him no more over an atmospheric trap beat from Wheezt

Rob49’s verses throughout “Same Side” are underwhelming compared to Durk’s although I appreciate the back-&-forth delivery as well as the morbid Lil Ju instrumental while “B12” weaves some hi-hats & quirky synth patterns talking about being fucked up off ecstasy. “At This Point We Stuck” moodily asks why everyone’s mad at him while “Cross the Globe” featuring the late Juice WRLD is an acoustic trap hybrid with both of them tackling themes of love.

“Dru Hill” is an melodramatically piano trap crossover wanting to be shown something new & what love feels like while the song “Belt2Ass” declares himself to be a rockstar from the trenches & the instrumental here has more of a symphonic flare to it. The penultimate track “Stand By Me” returns to a cleaner sound so he can desire his girl’s honesty asking if she’d stand by him if he lost it all & “Moment of Truth” closes the album with a trap/rock fusion produced by Alicia Keys talking about being out all night getting the bread.

As admirably introspective as 7220 was, the production on that previous album was lacking quite a bit & it makes me relieved that Almost Healed revealed itself to be a step in the right direction for Durk because it could possibly be the best full-length he’s ever dropped. Some of the features underperformed but most of them stick the landing, it’s more well produced for the most part & it really does feels like a therapy session on wax as the personal themes of the predecessor are expanded here.

Score: 3.5/5

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MonStar Entertainment – “Game Ain’t Safe” review

MonStar Entertainment is an independent hip hop label based out of Flint, Michigan, founded by local emcee Lyte & his business parter Matt Estep almost a decade ago by now. Their presence was first felt in the summer of 2014 when Young Lyte put out his debut mixtape Follow the Lyte, but took a backseat once he signed to Psychopathic Records on New Year’s Day 2017 & preluded his full-length debut Broke But Still Shining at that summer in the form of a debut EP Psychopathic MonStar before leaving the next fall. Eventually, he returned last March by dropping Metamorphosis solidly detailing his artistic & personal growth since taking time off in music. But after signing longtime affiliate Skitzo as well as Hypnotic Sound Studios co-founder Str8jaket & even Psychopathic’s first act that they signed Project Born, all 5 of them are joining forces to deliver a debut EP showcasing the ever-growing MonStar roster.

After the intro, the title track truly opens the whole thing with a nocturnal trap ballad so they can talk about taking over the rap game whereas “Can’t Stop Us” works in some luxurious keys & hi-hats making it known that MonStar is a force to be reckoned with. “Black Sheep” dives into cloudier turf referring to themselves as the underdogs while the song “Another Level” laces a booming trap instrumental addressing their elevation. The penultimate track “Heavy” blends these hi-hats with some whistling flexing about the noise they make & “Soldier’s Code” closes it all out with a vulnerable trap ballad bracing for the fight that’ll soothe the soul.

Even though MonStar’s been around for 9 years, most of us were introduced to them through Lyte’s brief tenure under the Insane Clown Posse’s mentorship & to hear the whole current roster together like this gives me the feeling that it’s only the beginning of the Flint label’s rise in the underground. The production’s more trap based, each artist has their own distinct characteristics to them & they all ping off one another naturally throughout.

Score: 4/5

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$uicideboy$ – “Yin Yang Tapes 3: Fall Season”

The $uicideboy$ are a hip hop duo from New Orleans, Louisiana consisting of Ruby da Cherry & $crim. For almost a decade now, these guys released a plethora of projects whether it be the Kill Your$elf saga & Eternal Grey or even I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$’ just dropped their last album Sing Me a Lullaby, My Sweet Temptation over the summer & continuing the Yin Yang Tapes series in the form of their 26th EP.

After the “Fall Season” intro, the song “whatwhat” opens things up with some gritty synthesizer patterns & hi-hats cautioning that you better stay the fuck away from them while the penultimate track “Every Dog Has His Day” gives off a more atmospherically Memphis kind of vibe to it this time around getting on their Scarface shit. “Provolone & Heroin” featuring Freddie Dredd however happens to be a mediocre closer despite its mystic trap production the lyrics representing the north side of New Orleans.

If you’re already familiar with the last 2 installments of the series, then you pretty much know what you’re getting yourself into here as they drop off 3 songs that fans can get themselves into the fall mood in about 4 months when the leaves actually start to turn brown. The feature at the backend is probably the weakest of the tetralogy so far, but they continue to expand on the cloudy rare phonk sounds from before & dropping their signature gangsta-infused lyrics on top of it.

Score: 3.5/5

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Estee Nack – “Nacksaw Jim Duggan” review

Estee Nack is a 38 year old MC & producer from Boston, Massachusetts emerging as a member of the Tragic Allies. He also branched out on his own my junior year of high school of his Purpose-produced solo debut 14 Forms: The Book of Estee Nack & has since built a lengthy yet impressive discography for himself. Other highlights include the Sadhugold-produced Surfinongold.wav alongside it’s sequel The Order of the Golden Fleece, the Giallo Point-produced Papitas, his collab efforts with al.divino or more recently the V Don-produced B.R.A.P. (Born Rewards & Penalties). But coming fresh off the 6th installment of the #MiniMansionDust series, he’s finally unveiling his 8th full-length album & Griselda Records debut executive produced by the FLYGOD himself Westside Gunn.

“Nackman Coletrain” is a drumlessly jazzy opener to the album produced by Denny LaFlare already getting on his coke rap shit whereas “Mass Money Wires” featuring al.divino works in some pianos, kicks & snares so both of them talking about burning trees instead of bridges which as a weed smoker myself, I can absolutely relate to. “Bonductor We Have a Problem” obviously plays into Conductor Williams’ name as the KC beatsmith ditches the drums once more talking about refusing to fuck around with anyone today that is until “Angeldior” dives back into boom bap territory courtesy of JR Swiftz so Estee can make it clear that he’s been a dreamer encouraging to come get with a crowd pleaser.

On the other hand, “Green Celophane” works in a drumless rock instrumental from Camoflauge Monk talking about being in the jungle with creatures just before “Fetty Guerrero” by al.divino has a more minimal albeit morbid vibe discussing watch what they do when the torch is passed down to them. “Strawberry Milk” has a more cheerful tone sonically calling out those trying to copy the formula who simply don’t get it leading into “We Made History” following the “Knowledge Wisdom” interlude having a more shimmery quality to it courtesy of the big homie CG with the title saying it all subject matter-wise.

“Mini Mansion Bartel” dives into drearier turf saying that his homies go to war for him as if he’s the son of Chapo alongside paying the price since he got stripes like Waldo while “Tal Commando” gives off a more tense vibe this time around talking about turning into Arnold Schwarzenegger in the jungle. The song “Vanilla Skies” returns to the boom bap cautioning that it’s gonna be a hot summer while the penultimate track “Space X” laces a crooning instrumental talking about finding him in a space station with Elon. “Old NackDonald Had a Farm” featuring West is a cold boom bap closer dissing those for growing shit that ain’t as half as strong as theirs.

Considering that Ester’s lengthy history of working with Griselda, it was only a matter of time he put out an album of his own through them & it sure enough happens to be amongst the strongest in his discography. The production is rooted into the label’s signature sound & Mr. Rose’s performances throughout are on par if not stronger than B.R.A.P. (Born Rewards & Penalties)’s, which should be more than enough to satisfy longtime fans & has me anticipating his future with the Buffalo powerhouse even more

Score: 4.5/5

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KAYTRAMINÉ – Self-Titled review

KAYTRAMINÉ is a newly formed MC/producer superduo consisting of Portland emcee, singer/songwriter & music video director Aminé as well as Haitian-Canadian producer & deejay KAYTRANADA. One of whom I was introduced to in the 2017 XXL Freshman Class & the other notable for being 1/2 of The Celestics with his younger brother Lou Phelps The first time we heard these guys cross paths was when Kaytradamus laced 3 joints off Aminé’s sophomore mixtape Calling Brío, but are reuniting to release a full-length debut of their own.

“Who He Iz” is a groovy opener to the album calling himself misunderstood & living where the coochie live whereas “letstalkaboutit” featuring Spreadie Gibbs discuss their wealth over a glistening instrumental. “4eva” gives off a more hip house vibe to it with some afro house & contemporary R&B undertones refusing to let anything come between his forever leading into “Westside” works in some string sections talking about being hot & cold at the same time not wanting to be compared to these fools out here.

Moving on from there, we have Big Sean coming into the picture for “Master P” blending these hi-hats with a vocal sample as they tell everyone in the game right now to watch it just before “Rebuke” is a pop rap/contemporary R&B ballad with some elements of neo-soul sprinkled in calling himself the type that you remember when you go to sleep. “Sossaup” talks about upgrading his bitch with a wavier beat in the fold, but then “STFU3” continues the trilogy that Good for You started & 1.5 continued with a J Dilla inspired sound.

The song “Ugh Ugh” brings back the synths talking about hustling 5 days of the week except for balling on Fridays & cuddling with his girl on Sundays while the penultimate track “Eye” featuring Snoop Dogg goes back into hip house turf 1 last time so the trio can discuss having to get focused locked in & never being unbelievable. “K&A (KAYTRANADA & Aminé)” ties up the album by talking about doin’ what we want ’cause we want accompanied by an impeccably smooth ass instrumental.

If this is only the beginning of what’s to come from KAYTRAMINÉ, then it has me anticipating what’s in store from them in the future because this is a highly enjoyable debut album from the duo. KAYTRANADA’s production gives heavy summer vibes, Aminé gives some of the finest performances of his career, the feature list is brief yet tight & I’m really amazed by simply how well everything flows together throughout the 34 minutes.

Score: 4.5/5

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Sharc – “Sharc Wave” review

This is the sophomore full-length album from Atlanta, Georgia rapper Sharc. Breaking out as a Pi’erre Bourne protégé signing to the South Carolina recording artist & in-demand producer’s very own Interscope Records imprint SossHouse Records, he would drop a few singles & land some feature placements until dropping his own debut 47 Meters Down literally the week after appearing on “Drunk & Nasty” off the 5th & final installment of his mentor’s Life of Pi’erre series. But coming off producing both Still Trapp’n & Chavo’s World 3 earlier this month, Pi’erre’s keeping the hot streak going by lacing Sharc Wave in it’s entirety ahead of J Billz’ full-length debut Streetz’ Hottest Young’n in a couple weeks.

The instrumental throughout the opener “Walk Down” has these retro-video game like synths & hi-hats so he call out every single motherfucker that’s jackin’ his swag out here whereas “Sicario” switches it up with a more euphoric sound talking about going pistol for pistol. “PMR 30” laces more hi-hats & synths making it known that he ain’t afraid to spray rounds from his strap just before “1 of 1” is a piano trap ballad reminding how much of a threat he is.

“Skeleton Mansion” incorporates some woodwinds & more hi-hats so he can stick while your hood up playing with handguns since he from New York even though his shawty got a fetish for rifles, but then “Super Bowl” goes for a more horn-based sound talking about how SossHouse stays winning without competition. “Members” is a more keyboard/trap crossover saying he in the mood, but then “Miami” has a cloudier vibe talking about going through shit.

Meanwhile, “Hashtag” begins the last leg of Sharc Wave with a woozy beat detailing a bitch that simply wants to act bad while “Harley Quinn” is a cloudy trap banger comparing his lover to that of the Joker’s titular ex & Suicide Squad member. The song “Soss Love” is a triumphant dedication to his squad while the penultimate track “Brixton” has a futuristically bassy approach talking about swimming instead of surfing. “Talm Bout” on the other hand ties up the album with a thunderous closer discussing the lifestyle that he lives.

Sosshouse has been on a tear these past 3 weeks with all these albums that Pi’erre’s been producing for his artists because so far, Sharc Wave is my 2nd favorite of the 3 behind the very one we got last weekend Chavo’s World 3 & has me wondering how J Billz will properly introduce himself on Streetz’ Hottest Young’n in merely a couple weeks. Sharc sounds recharged throughout his performances as he surfs over his mentor’s signature production style.

Score: 3.5/5

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Oodaredevil – “Rawr” review

This is the official full-length debut album from Dallas, Texas recording artist Oodaredevil. Getting his footing in off the strength of his 2019 debut EP Dr. Daredevil after early collab after being featured on some of Yeat’s early material, he would continue to make his presence in the trap scene known by building up a discography for himself by putting out a total of 10 more EPs & even a couple mixtapes. He’s just coming fresh off Diary of an Inky Kid 2.5 a couple months ago & of course Diary of an Inky Kid 2 back in February, but all those tapes & EPs have all been leading up to rawr.

The title track is a moody trap opener to the album describing feeling like Mowgli since he be in the jungle whereas “Dangerous” has some grin piano chords & hi-hats courtesy of Kevi with co-production from Henney of the 808 Mafia & Svdominik talking about not playing with them because of how menacing he is. “Zone” makes it clear that he’s in his lane & that no one else can get on it with a bit of a psychedelic trap flare to the instrumental that is until “Maniac” talking about going crazy over a more quirkier beat this time around.

“woahwoah” on the other hand a hazier sound to it discussing riding around in a foreign & blowin’/shootin’ up the spot just before “Bonquisha” refers himself as to a monster than needs to be fed accompanied with Lucid taking a more minimal approach behind the boards. “Both Ways” makes it known that his brand new shit ain’t rinky dinky even though there’s not a whole lot to say about the instrumental just before “Bad Feet” talks about needing a mansion & a couple acres over a quasi-futuristic trap beat cooked up with the help of 20, Safari, Ds2Krayz & Jakik

Meanwhile, “Loose” has a cloudier tone to it courtesy of Bugz Ronin responding to being asked what’s good by saying that it’s simply up leading into “Good Morning” featuring Keen Cortex continues to delve deeper into a more chilled out vibe as the 2 talk about first thing they say in people in the morning is “Diamonds hittin’, they glistenin’”. “Kimjun” talks about bringing the thunder over a peppily cloudy beat from Steven Shaeffer & Kelewya while the song “ok 🆗” blends some hi-hats & flutes to go into a more repetitive direction lyrically.

The penultimate track “King of the Jungle” continues to expand on the sounds of the previous cuts with more woodwind-infused trap production except Kavi & Spaceman elevate it to the next level talking about trying to be humble these days & the round the album up, “2 Phones” admits that he don’t know how to act & that he’s in lane preceding to ask if anyone else is in theirs with Mingo & Juice delivering a more playful vibe with the instrumental.

For those of you who’ve been following Oodaredevil through the features on those couple early Yeat EPs, this day has been a long time coming & it’s certainly safe to say that he pulls off a full-length debut album worth revisiting. One that new fans can familiarize themselves with as to who he his stylistically & personally too with it’s flavorful trap production & captivating performances.

Score: 3.5/5

Planetary – “Project Pluto” review

Planetary is a 44 year old MC from Philadelphia, Pennsylvania emerging within the underground as 1/2 of the duo OuterSpace with Crypt the Warchild as well as a member of the Army of the Pharaohs collective led by Vinnie Paz. He’s even landed quite a bit of solo features on various albums over the past couple decades too, but it hasn’t been until now where he’s putting out a full-length debut of his own fully produced by his son Elemxnt.

“Ruin Ya Life” is a solemn boom bap opener bringing the truth to the light whereas “You Know Who I Am” works in some more kicks & snares so the man can talk about everyone knowing exactly who the fuck he is as he expands. “Where the Legends Are” has a more morbid atmosphere to it setting out to finish what he started that is until “Vainglory” featuring Elemxnt, Kxng Charisma & Trxstworthy finds the quartet talking about being overly vain over an unsettling piano instrumental.

Meanwhile, “Holy Water” takes a more haunting route aspiring to excel just before “I Get It” switches it up by energetically talking about giving them all that dope shit & wanting all the smoke possible. “The Bicentennial” has a really cool organ melody throughout keeping it 200 calling himself the best in the building in general leading into “Self Destruction” featuring WRD Life goes into sample-based boom bap turf as they both talk about being sent to win.

“It’s Elementary” begins the final leg of the album with some chimes, kicks & snares making it clear that they shining with the darker days in the past along with slapping OGs prior to “Get Slumped” is a rugged ode to getting your shit fuck up with a fitting piano instrumental. “1 2” reunites with Elemxnt on the mic 1 last time to belittle their opposition with an echoing boom bap, but then “Keep On” ties up the album with a tearjerking ballad about time trying you & encouraging everyone to never stop for any given reason.

Considering that no one in OuterSpace has ever dropped a solo effort until now, I was a bit surprised when Project Pluto was announced yet it didn’t bog down any expectations considering how much of an AotP fan I’ve been since high school & it definitely has me looking forward to what he has to offer by himself down the road. Elemxnt’s production game is sounding better & his dad mixing more personal topics with the usual hardcore bars one would expect.

Score: 3.5/5

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Russ – “CHOMP 2.5” review

This is the 3rd EP from New Jersey rapper, producer & singer-songwriter Russ. Dropping off a total of 11 mixtapes on SoundCloud from 2011 up to 2014, he wound up signing Columbia Records a couple years later & made his full-length debut last year with There’s Really a Wolf. Quickly becoming one of hip hop’s most polarizing figures in recent memory in the process by being a “fake activist” against drugs & then there’s his infamous 2016 interview with DJ Vlad the culture vulture where he literally said “we need to blame producers for all the wack music today”. His 2018 follow-up ZOO kinda caught my interest due to“The Flute Song”, but the end result of it being taken over by this annoyingly bitter demeanor. Shake the Snowglobe was slightly better & his debut EP CHOMP in 2020 ended up being his best work so far, although it’s because the features & producers carried. Funny enough, the same thing happened on the sequel a year & a half ago. But to prelude the 3rd installment, he’s rockin’ it by himself on CHOMP 2.5.

“Wicked Race”’ is a self-produced opener with no real stand-out lines even though the instrumental that he cooks up here is actually pretty decent whereas “Blow the Whistle” calls this a warmup to CHOMP 3 dropping this summer & even though Statik Selektah’s boom bap production is groovy, bars like “Stand tall like who? Like Tyler” & that he “never had to chase clout or do a bunch of weird shit” when he started to blow by constantly making a narcissistically bitter ass-hat of himself.

The “Buckle Up Freestyle” is more sample-based courtesy of Havoc talking about calling himself out on my bullshit & luckily he picked up, which I’m actually happy to hear him acknowledge that because it takes a real man to own up to his mistakes & don’t have any personal vendetta against the guy whatsoever. “Easy” weaves in some soulful chops from The Alchemist talking about showin’ why no one can fuck with him lyrically even though he literally made a whole fuckin’ tape where the features outshined him although the self-improvement line I felt was sincere.

“Reflection” has a more summery vibe to it thanks to Boi-1da & the melodic delivery that Russ executes here just isn’t doing it for me at all which is a shame considering it’s overall theme of rarely getting a second to put himself first. “Perfectionist” closes out the EP with a soulful boom bap ballad that 9th Wonder cooked up confessing that he had 32 sessions with a therapist about being a recovering purist although the “in my Depeche Mode” line was cringe.

Although the first 2 installments of the CHOMP series were loaded with guest verses, the fact that Russ took the risk of proving that he doesn’t need features for a project to be good is admirable. However, this is as average as the predecessors. The production is remarkable, but the songwriting & performances from Russ himself are both mid at best. That being said though: I can’t deny that he’s trying to improve himself both artistically & personally and continue to hope for that down the road.

Score: 2.5/5

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