South African hair culture and communities in a vivid book of photos
Like so many underdeveloped places, South Africa’s townships (often written off by tourists as undesirable and dangerous) have long been rich sources of legendary music and culture. As explored in British photographer Simon Weller‘s beautiful new book “South African Township Barbershops & Salons,” proprietors take great pride in designing their businesses, which function as much more than a place to get a haircut—in spite of their humble surroundings.
Signage alone speaks to a tradition of sign painting. Weller—with help from revered South African designer and book contributor Garth Walker—shows the effort put into personalizing salons, from the homemade graphics to a signature style of cut.
From “Judgment Day” to “Boys II Men” salons and those tucked behind the doors of shipping containers, Weller’s bright portraits sheds light on a rarely-seen side of the country, a testament to the hopeful spirit that remains in these communities even as they continue to suffer the effects of apartheid.
Interviews with store owners, sign makers and customers help flesh out the story, positioning the spaces as not just salons and barber shops, but as community centers for socializing, gossip, networking and other connection-making.
“South African Township Barbershops & Salons” sells from Mark Batty and Amazon.
South Africa’s subversive new publication takes on the country’s contemporary creative culture
Founded to “really assault the dominant narratives in our own unique way,” the South African magazine Mahala goes against the typically glossy grain with an “un-designed” style that allows its similarly raw content to shine. The publication launched in August 2010 and, now on its second issue, supplements a daily website—both the brainchild of Andy Davis.
Stories like “Surfing is Wanking,” “Racist Dogs” and “The Colonialism of Small Things”—to name just a few—shed light on topics that affect South Africans, but with its Vice magazine-style journalism, anyone interested in leading-edge culture will appreciate this unconventional upstart.
We recently probed Davis to find out more about Mahala’s beginnings, its future, and the overall state-of-mind in South Africa.
What do you most hope to accomplish with Mahala?
I want to create a platform for a racially-integrated South African youth culture that can interrogate our experience, our culture and really just provide an impetus for people to make good, relevant stuff. South Africa is still a radically segmented place. And we’ve got a whole backlog of shit that’s been swept under the carpet and kept out of view. I want Mahala to pick at those edges, to go where the art, music, literature, etc. intersects with politics, society and weird-ass South African dynamics like race relations and socio-economic disparities.
The online site tries to crunch through what’s happening in South Africa on a daily basis. We aim to publish three to four stories a day. The debates we get going in the comments show that our audience really gives a shit about what we say, and they have a stake in the culture so they all pile in and make their voice heard, which is a good thing. But it can be quite rough on the comment boards. We have a non-intervention policy. We don’t delete anything. If people want to hang themselves kak vibes, so be it.
We hold the print magazine to a higher standard. We want people to read everything twice. It’s supposed to be a real collector’s item. But it also gives us the latitude to publish photo features, fashion, fiction and investigative journalism that isn’t always suited to online attention spans.
What is the most challenging part of creating each Mahala edition?
Getting the right mix of words and images, without being too gratuitous or going too hardcore, but still being able to interrogate the culture and experience. I think with our first issue we were sitting on so much unreleased content that we didn’t temper it properly. So it was a bit relentless. With the second issue we got the mix a bit better varying between depth and levity. There were some almost academic style articles, hard-hitting investigative journalism, some great narrative non-fiction, fiction and some nice humor.
Another thing we really struggle to do is find good, black writers, photographers and illustrators. That’s not to say they don’t exist, it’s just that South Africa is so systemically fucked up thanks to apartheid that massive segments of the population were actively uneducated by the apartheid schooling system. So, generally speaking, anyone who is black, creative, talented and competent gets employed very quickly. And there just isn’t a plethora of young black talent beating down our doors, desperate to get published. And the last thing we want to be is a group of whiteys sitting around writing about black culture. We want to push this relationship into a “post-racial” space. Things are changing though, and it’s picking up pace. And we certainly don’t want to be those sad guys who do head counts based on skin color. But we’re still a long way off from the ideal of an equitable, meritocratic society.
Does each edition have an underlying theme?
Not yet, but we may be heading that way. I think at the moment, we don’t need to introduce over-arching themes because the culture is happening all around us and having a theme would necessarily occlude some of the most relevant and exciting stuff. Besides, I quite like the way the magazine jump cuts from narrative to narrative. I want them to stand alone and not have too much editorial unity. We always said Mahala would support a plurality of views, so it’s cool for each piece to stand alone and not be perceived as coming from central editorial authority.
What can we look forward to seeing in Mahala 3?
I think it’ll be bigger and better than Mahala 2. I thought there were some little failings in the last issue, that I’m glad to have the opportunity to rectify in the next issue. But those are mainly little publishing minutiae and insecurities. Generally the feedback has been overwhelmingly positive. At this stage a lot of the content is still in the air. We’re also working on a site redesign and, for our international readers, we’ll be making all the print mags available online as PDFs, from the next issue.
To subscribe to the print publication or receive their daily updates, visit the Mahala website.
World-changing creativity from our five favorite speakers at South Africa’s premier design event
A conference promising “a better world through creativity,” South Africa’s Design Indaba summit fills three days with blue-sky thinking on design as an agent of change. The well-organized event, followed by a thriving design expo, this year also featured a performance by the Watoto Children’s Choir, celebrating the 80th birthday of design mainstay Massimo Vignelli, who sagely reminded the crowd, “If you do good work, you get good work in return.”
While Vignelli’s wisdom neatly sums it up, the conference explored more deeply how design improves life, that questions lead to better design, the ways that passion yields success, and collaboration’s potential to open up new ideas and approaches. While all the speakers intelligently presented their views on creativity, below are the five who made the overall biggest impact.
Maarten Baas
Following a retrospective speech by design impresario Alberto Alessi and closing out day two of the conference, award-winning young designer Maarten Baas‘ passionate take on design left the audience many bon mots to consider—”the most beautiful things in life are unexplainable (like love).” Baas started his talk with images of trees in nature, showing the intrinsic elegance of the world. But because our “brains take over common sense,” we end up with “Superman design,” the shiny and overly-styled work that’s dominated recent years. Baas’ highly-regarded Clay Furniture series (above)—each piece sculpted by hand and with tables that can have five legs—embodies this modern-earthy approach.
His aesthetic, like many contemporary designers, fuels those pundits determined to define him as either a fine artist or a designer, a conundrum he compares to a tomato. “Is it a fruit or a vegetable?” Baas asks, then answering his own question, explains it is both. Though bewildered by the categorizations, he understands the media’s fascination with his hybrid process. After debuting his Smoke collection (above) he felt people wondered “who is this guy from Holland with his blow torch?” Explaining the paradoxical leap his work requires, Baas commented on his limited edition series for Established & Sons, stating “the sales were even more limited than the edition.”
Karin Fong
Concerned with “making transitions and connections,” Karin Fong designs the “in between space” that bridges reality and fantasy in her film work. As one of the founding members of Imaginary Forces, Fong specializes in creating title sequences for movies and television. The pragmatic creative sees each project as a puzzle, where she must combine the legal information (the credits) with an imaginative opening sequence to ease the audience into the story. “Dead Man on Campus” (above)—which Fong says was a challenge in and of itself as a comedy about suicide—cleverly substituted information on a college exam with the film’s credits.
Fong explains that when creating these compact stories within a larger picture she “knows it’s right when it can’t go in front of any other story or production.” For the HBO show “Boardwalk Empire,” Fong said their first thought was to make an opening concerned with prohibition and the time period during in which the narrative takes place. Realizing that the focus of the series was the character Nucky—no matter who dies or what changes during the show, he always comes back—they redesigned what has become a widely-lauded introduction around him.
Hat-Trick
For a design duo that “likes to keep busy” London-based Hat-Trick seems to have an immense amount of fun doing it. Founded ten years ago by Jim Sutherland and Gareth Howat, Hat-Trick works with a wide range of clients, creating projects of various scale—from postage stamps to campaigns.
Aptly named Hat-Trick, the small firm applies a clever sensibility, at once playful and diligent, to their work. When commissioned by U.K. commercial property developer Land Securities to create a temporary billboard at residential building Piccadilly Lights, Hat-Trick designed a giant switch that people could physically turn on and off with copy reading “Piccadilly Lights: owned, managed and illuminated by Land Securities.”
An underlying message from their presentation is they don’t see their craft as work, instead they treat each endeavor as an exciting challenge to flex their creative muscle. For instance, on a recent holiday Sutherland decided he “needed more practice with typography” and gave his hand at designing a deck of playing cards. The resulting set not only cleverly toys with words and images, but reflects the subtle humor of their designs.
Robert Wong
Touching on Baas’ down-to-earth approach, Google Labs‘ creative director Robert Wong started his talk with the fact that he is the exact opposite, even offering an equation for artistic success. S! + Em = Cr means “surprise plus empathy equals creativity.” From “don’t be evil” to “do epic shit!”, Wong’s motivational-speaker pitch kept it moving, sprinkling bits of valuable advice among personal anecdotes. Life-affirming statements like, “the best search results don’t really show up on web pages, they show up in people’s lives,” lent his talk an optimism that the former accountant balanced with practical tactics. One of the key factors they keep in mind at Google, he explained, is knowing “our products are only as good as our browser.” Tapping into the conference’s theme, Wong posited that while no one really knows what a “better world” looks like, if people galvanize their talents we are sure to see a more innovative future.
Michael Wolff
Dressed in bright blue Crocs, veteran designer and consultant Michael Wolff opened up the conference with a review of his 46 years in the business. Unsurprisingly, he had an endless flow of scholarly soundbites to compliment his works, which typically include a witty animal in the design. Wolff himself explains he would be a seagull, flying high, having fun and soaring around to scoop up his next meal. The metaphor led to his first bit of advice, “humor is an important part of building relationships.”
Co-founder of the now-massive brand strategy firm Wolff Olins, Wolff is no stranger to creative thinking. His process is to detach the brain from what it already understands—like an engine pulling apart from the train—and begin in the “I don’t know position.” He also warned the audience about hanging on to an idea, saying “Having an idea is a block to having more. If you have an idea, just throw it away. You think you’ll never have another one but you will.”
Wolff explains “sometimes you just have to leave things alone.” Tasked by Lyle’s Golden Syrup to redesign their packaging, Wolff didn’t change a thing. For Shell, he simply bumped up the colors and removed the name—an act that speaks volumes about progress and how our relentless pursuit of it might best play out in coming years.
A wholly indigenous iced tea that reflects South Africa’s bold spirit
Bold “Afro pop” graphics set the tone for South Africa’s newest cold beverage, an iced tea bursting with fruit flavor. Utilizing the region’s indigenous Rooibos plant, Bos offers five caffeine- and preservative-free blends—Peach, Apple, Lemon, Energy and Slim—each mixed with spring water from Western Cape’s Cederberg mountains.
Already an inherently healthy herb for its high level of antioxidants, the Rooibos in Bos tea is also ethically sourced from the Klipopmekaar farm and nature reserve. Klipopmekaar uses renewable energy and certified organic farming methods to cultivate the portion of land they dedicate to growing Rooibos—the rest of the 11,000-plus acres they keep as a bio-diverse wilderness reserve.
Reflecting the contents inside, Bos’ graphic design for the slim tin cans combines African mythology with the continent’s classic bright color palette. This attractive packaging recently placed Bos as a finalist for Design Indaba‘s “Most Beautiful Object” award.
Made entirely in South Africa, Bos has yet to take an international stage but sells from cafes around the country.
Seven design graduates demonstrate the future in an insightful group talk at Cape Town’s creative conference
From the seven recent design graduates highlighted for their distinct talents at Cape Town’s Design Indaba conference on creativity, three particularly stand out for their innovative viewpoint and compelling demonstrations. While the others—Camille Blin, Dirk Van Der Kooij, Lindsay Kinkade and Christine Goudie—all presented well-founded concepts in their respective fields, the inimitable talent of Nelly Ben Hayoun, Laduma Ngxokolo and Joe Saavedra made for an inspirational Pecha Kucha presentation and truly reflected the exciting future for design.
The utterly mad “scientist” and interaction designer Nelly Ben Hayoun hopes to help people “lift off from their living room” with her Soyuz Chair, a rocket ship simulator that allows people to experience the feeling of take-off from a high-tech La-Z-Boy armchair. Dressed as an astronaut, this energetic RCA grad feels design allows us to “access our own dreams”—a concept clearly demonstrated with her “gigantic imaginary gadget.”
Hayoun consulted with French astronaut Jean Pierre Haignere to achieve a completely accurate simulation, and kitted the chair out with electrical outlets in the back to plug in your vacuum cleaner or electronic equipment to make it a fully functional addition to the living room. Check out her website to see videos of the Soyuz Chair and her other physics-based projects such as the Super K Sonic Booooum from this self-dubbed “experience designer.”
Young South African textile designer Laduma Ngxokolo hopes to “present his culture to the next generation” through knitwear inspired by the traditional Xhosa beadwork. Ngxokolo explained the concept he conceived while studying textiles at the Nelson Mandela Metropolitan University revolves around the rite of passage (abakhwetha) for young men on the Eastern Cape, who are forced to give up their entire wardrobe after circumcision. In a lighthearted demonstration, Ngxokolo proposed several stylish knit sweaters boasting colorful geometric patterns for the men to wear both after and during the abakhwetha ritual ceremony. Already a winner of the South African Society of Dyers and Colourists Design Compeition, Ngxokolo’s striking zig-zag sweater (pictured above, left) is up for award in Indaba’s “Most Beautiful Objects” competition this year.
DIY and open-source technology are what really drive Parsons grad Joe Saavedra, who gave an easily-digestible demonstration of his oft-complex projects he created while completing his Masters in Design and Technology. While his “SOBEaR” panda bartender/breathalyzer is an honest example of his interests, his “Citizen Sensor” really demonstrated his ability to design a product that can cross platforms using advanced technology.
The sensor itself is a wearable tester for carbon monoxide, dust and other air quality conditions, and through his app for Android and iOS that data can be shared with people around the world for a true understanding of actual facts and figures. Explaining he’s “all about empowering people,” Saavedra hopes his sensor will help people have a real grasp on their personal space and the environment around them.
Sponsored by Design Indaba. Check back for further coverage on Cape Town’s conference on creativity.
Bees and strawberries inspire furnishings at Stockholm Design Week’s premiere satellite show
With the world’s press and monochrome-clad fans of design descending on Sweden for a glimpse of the distinctive “Scandi” style at Stockholm Design Week, we checked in on one of the most promising satellite shows, “Check In 11: Unpacked” to see what the ten promising new designers exhibiting there had to show. Curated by Frida Jeppsson (author of In Case of Design—Inject Critical Thinking“), this ambitious show seeks to let the work of the ten do the talking in a “work in progress” format.
We were happy to see the geometrically exuberant work of the furniture designers Zweed, but the show includes some exciting furnishings from Daniel Svahn, whose work focuses on the form of the beehive. Svahn’s two cabinets (below) and tactile drooping lamp (above right) twist the hive form into something that we can enjoy without getting stung. Stained legs and gentle external coloring in green and gray play against the honey-colored interiors of the two cabinets, while the semi-translucent white of the lamp gives it an almost ghostly quality—devoid of the buzz of frenzied bees.
Young design practice Glimpt collaborated with artisans in South Africa on a range of lighting inspired by strawberries (top right and above). The two lights on view, called “Last Fruit Standing” and “Forbidden Fruits,” mix the colors and vibrancy of the region with Swedish aesthetics, drawing the viewer’s attention to reward it with the charming little touches. Each ceramic element has been hand detailed, while the colorways of the shades are enhanced by more accent colors, instead of taking a safe road with neutrals. Each of Glimpt’s lamps command attention and are all the more covetable for their bold, almost carefree use of coloring.
Playing to the mounting excitement of South Africa’s upcoming World Cup, last month’s Design Indaba conference in Cape Town was billed as something of a major sports event in its own right with colorful banners, stadium cheer-worthy introductions and even trading cards for the visiting speakers. Talks covered dozens of intriguing projects—from the likes of Tord Boontje, Ronan Bouroullec, Manabu Mizuno, Han Feng and Mokena Makeka—and participants ran the gamut from veteran to rookie, guru to diva, and far-flung to homegrown.
Here, we’ve singled out a handful of presentations for their memorable insight into both the creative life and the world at large, along with soundbites, and other projects worth checking out.
Our hats off to founder Ravi Naidoo, a consummate host whose boundless energy, unparalleled enthusiasm, and belief in the transforming power of creativity is truly inspiring.
Always a great speaker, Pentagram partner Michael Beirut set the bar high with his thoughtful opening presentation. Instead of a sweeping career survey, Beirut focused on one assignment with the hope of sharing a fundamental lesson in project management. His presentation, called “My favorite project and how I almost blew it,” detailed his distinguished work with the The Robin Hood Foundation on The Library Initiative, a program to revitalize libraries in New York’s most disadvantaged public schools.
To summarize Beirut’s lessons in humility: Don’t try to be so darned clever. You get power by giving away power. The real opportunity my not lie within your scope.
Consistency is not always good.
The audience is more wonderful than you think.
2. The virtues of limitations
One of the few speakers to receive a standing ovation at the conference, Chilean architect Alejandro Aravena provided a laudable rejoinder to Martha Stewart’s strikingly vainglorious presentation. Aravena, principal of the award-winning firm Elemental, gave an impassioned speech on his efforts in developing affordable community housing in Chile and Mexico. The design solution, half-finished structures that allow for self-build expansion, held particular resonance for the largely South African audience, confronted as they are with how to rectify the housing deficiencies of the country’s many impoverished townships.
3. The value of a narrative
A recent graduate of the Royal College of Arts in London, Thomas Thwaites provided the most hysterical six minutes of the Design Indaba conference. In recounting his 2009 thesis, The Toaster Project, Thwaites had the audience in stitches over his attempt to manufacture a toaster from scratch, right down to procuring the raw materials copper, nickel, mica and plastic. While the real aim of the project was to examine the absurdity of scale in the industrial processes that lead to a £5.00 consumer toaster—Thwaites’ toaster looks more like a nightmarish wax model of the thing itself—an unintended consequence may be a career in television for this graduate. Thwaites has all the makings of a engaging storyteller.
4. The wonders of serendipity
In recounting his prolific career to date, Harry Pearce of Pentagram U.K. returned again and again to the notion that things can take on a life of their own. From his work on the Dana Centre and Peter Gabriel’s Witness program to his latest book project on typographic conundrums, Pearce’s career has been filled with the kind of serendipitous moments usually reserved for a Paul Auster story. The takeaway: the seeds of creativity are sown in the most unlikely of places.
5. The joys of doing what you love
Graphic designer Stefan Bucher, principal of 344 Design and creator of the off the wall Daily Monster, gave a fervent talk rife with sardonic humor. At the heart of his presentation was the concept of knowing your operating system, or what feeds your creativity. For Bucher, this translates into several working strategies: workarounds (obsessive compulsive design strategies that let the mind go on autopilot), repair permissions (infusing projects with personal relevance), and greed control (limiting one’s desire for money to focus on work that one loves). The result of that last bit happens to be Bucher’s Monsters, a pet project that has, not surprisingly, developed a massive following.
6. The merits of humor
Executive chairman and national creative director for Ogilvy & Mather India, Piyush Pandey has been hailed as the most influential man in Indian advertising—for good reason. Pandey gave one of the most entertaining presentations of the conference, showcasing a selection of hilarious commercials representative of his approach.
In a nation with over 30 spoken languages, the task of communicating a coordinated brand message seems insurmountable. Nevertheless, at the core of Pandey’s work is the ability to connect with an incredibly diverse audience through emotional storytelling. His favorite emotion, humor, plays a central role in many of his campaigns, including the Vodafone Zoozoo shorts, which have become India’s most popular ads to date. (Its official Facebook fan club is nearly 400,000 strong). Take a moment to watch a compilation of the ad shorts here, you won’t be disappointed.
1. “Cities need unauthorized acts of creativity.” —Wooster Collective’s Marc and Sara Schiller 2. “I believe there is life beyond logic.” —Piyush Pandey 3. “Do we change the world to suit us, or change ourselves to suit the world?” —Fiona Raby 4. “We should build half of a good house, instead of a small one.” — Alejandro Aravena 5. “Form follows fiction is more important than form follows function.” —Jurgen Bey 6. “Your brain is like an unruly pitbull; it will chew up your furniture at best.” —Stefan Bucher
Launched at last month’s Design Indaba expo, the Inception Collection from Snapp was one of the more attention-grabbing product collections there. With its use of brilliant hues and bold forms, the group of five objects stood out from much of the more craft-based wares on view.
Founded by industrial designer Jonathan Fundudis and mechanical engineer Renko Nieman, the Johannesburg-based firm aspires to lead the field in contemporary South African product design and manufacturing. The brand fabricated their inaugural collection entirely from Corian, which they selected for its ability to be machined, thermoformed, laminated and finished using both new technology and traditional production techniques.
Highlights from the collection include the Lamellae fruit bowl (top), inspired by the underside of mushrooms, the Slice cutting board (next image), in which two wedge-shaped voids allow for both handling the board and scooping chopped food, and the alluring Twi-light table lamp (above), which turns on and off by pressing the top cap.
Since Corian is a notoriously expensive material, and producing these pieces in small batches could be quite costly, we’re interested to see how the gentlemen at Snapp can scale up their design projects to reach a wider South African, and international, audience. They’ve certainly got some good ideas, so watch for more from them in the years ahead.
Launched at the recent Design Indaba, Haldane Martin‘s Baba Papa Lounger (above) was one of the highlights of this year’s exposition. The undulating, meshed structure, manufactured from roughly 80% recycled stainless steel wire, was inspired by the worn surface of beach pebbles. Sun bathers not to worry, the lounger also comes with a contoured cushion to prevent unsightly skin patterns.
No stranger to Design Indaba (he was a speaker at the 2007 conference) or the South African design scene, since Martin formed his namesake company in 2002, he’s become one of the country’s most successful contemporary furniture designers. Over the week I spent in Cape Town, it was difficult not to sit upon or be illuminated by one of his designs. His slinky Songololo Sofa, inspired by Ueli Berger’s classic sectional, graced both the recently completed 15 On Orange luxury hotel and the stage for this year’s conference.
Martin’s Fiela Feather Arc Light, an airy homage to Castiglioni’s Arco, also graced the lobby of the new hotel. Designed in 2007, Martin named the lamp after the Dalene Matthews book “Fiela se kind,” which takes place in the same ostrich farming district from which the shade’s feathers are sourced.
After returning from Design Indaba, we looked further into Martin’s developing oeuvre. Check out a couple more projects after the jump.
The product of thousands of hours of sketching, computer rendering and modeling, Martin unveiled his Polyhedra Modular Coffee Table at last year’s expo (watch a video of his Pecha Kucha talk here). The project draws inspiration from a multitude of systems in nature and mathematics.
Possibly Martin’s most well-known design, the Zulu Mama chair was inspired by an inner search for the mother archetype. A marriage of craft and technology, the designer developed the nurturing form of the woven seat with a rural craftswoman in Limpopo and later translated it into extruded plastic. The process of creating the Zulu Mama marked a pivotal moment for Martin and featured prominently in his 2007 presentation, called “Design with a Conscience.” Watch the clip here.
Nestled in a small display cube within the Cape Craft and Design Institute’s exhibition at the recent Design Indaba expo, Heartworks Stitching Club‘s hand-embroidered teddy bears immediately caught our attention with their bold colors and one-of-a-kind appliqué.
Founded by Margaret Woermann, owner of the Cape Town crafts boutique Heartworks, the Club began over five years ago in an effort to empower local craftswomen while contributing to the city’s creative pulse. With early assistance from Durban needlecraft artist and women’s self-help teacher Leonie Malherbe, the stitching club started as a core group of local Cape Town women. Several years later, it’s evolved to include over 30 members, from Xhosa speaking participants to men and women from Zimbabwe and the Democratic Republic of Congo.
Central to the process of creating the bears (comprised of over 20 pieces), is a celebration of the individual. Woermann, who mainly assists with orders and material procurement, leaves the creative process entirely to the embroiderers, who develop their own particular design language.
The resulting collection, beautifully patterned with animals, people, houses, flowers and other whimsical imagery, has already been quite successful—recent examples include substantial orders for the Gap and a children’s project in Afghanistan—but the stitching club produces a multitude of other products, including pillows, tablecloths and hearts. The thread connecting all the efforts is the conviction that a skilled community can produce desirable products of enduring value. Woermann writes: “I believe that the time for subsidized projects—’buy me because you feel sorry for me’—in this country is over, and that a project that is self-sustaining and produces beautiful work—’buy me because I am beautiful’—is the way forward.”
We think the Heartworks Stitching Club is ripe for some forward-thinking design collaborations. If you’re interested in working with them, or if you’d like to order a bear (pricing ranges from R295 to R695 depending on the size) contact Margaret at woermann [at] iafrica [dot] com. Check out more images after the jump.
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