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The lastest CD from La-La Land is a historic release, presenting for the first time the very first collaboration between John Williams and Steven Spielberg, the score for the director's 1974 feature debut THE SUGARLAND EXPRESS. The album features a 40-minute selection of cues approved by the composer, including music not featured in the final film. 

The latest CDs from Quartet are an expanded, two-disc edition of Ennio Morricone's score for the 1971 giallo GIORNATA NERA PER L'ARIETE (aka The Fifth Cord), starring Franco Nero, and a re-release of their expanded edition of Jerry Goldsmith's Oscar-nominated PAPILLON.

The latest releases from Kronos are the score to the 1964 adventure film FROM HELL TO BORNEO, composed by Gene Kauer and Douglas M. Lackey; and COP HATER, scored by B-movie great Albert Glasser. Cop Hater was based on the first of the long-running 87th Precinct mystery novel series by Ed McBain (aka Evan Hunter), which also inspired a 1960s TV series starring Robert Lansing and Gena Rowlands, several TV movies, two Columbo TV movies  ("Undercover" and "No Time to Die"), and such feature films as Fuzz, Blood Relatives and the Kurosawa classic High and Low.


A Pistol for Ringo/The Return of Ringo
 - Ennio Morricone - Quartet 


The Bikeriders - David Wingo
Cora Bora - Miya Follick
The Exorcism - Danny Bensi, Saunder Jurriaans
Fancy Dance - Samantha Crain
Fresh Kills - Theodosia Roussos
Ghostlight - Quinn Tsan
The Grab - Jeff Beal
Humanist Vampire Seeking Consenting Suicidal Person - Pierre-Philippe Cote
Janet Planet - Music Supervisor: Joe Rudge
Just the Two of Us - Gabriel Yared - Score CD L'amour et les forets on Quartet
Kinds of Kindness - Jerskin Fendrix
Latency - Justin Katz
Thelma - Nick Chuba
Treasure - Antoni Komasa-Lazarkiewicz, Mary Komasa 
Ultraman: Rising - Scot Stafford


June 28
The Sugarland Express
- John Williams - La-La Land
July 5
Saltburn - Anthony Willis - Polydor (import)
July 12
The Dead Don't Hurt - Viggo Mortensen - Milan
Coming Soon 
Cop Hater
- Albert Glasser - Kronos
Cosa avete fatto a Solange? - Ennio Morricone - Quartet   
The David Michael Frank Collection Vol. 4 
- David Michael Frank - Dragon's Domain
Death Hunt
 - Jerrold Immel - Dragon's Domain
Franz Waxman: Legendary Hollywood Vol. 2
 - Franz Waxman - Citadel
From Hell to Borneo
- Gene Kauer, Douglas M. Lackey - Kronos
Furiosa: A Mad Mad Saga - Tom Holkenborg - Mutant
Giornata nera per l'ariete
- Ennio Morricone - Quartet
The Golden Age of Science-Fiction Vol. 4
 - Elisabeth Lutyens, Ronald Stein - Dragon's Domain
The Humanoid
 - Ennio Morricone - Quartet
Il cittadino si ribella
 - Guido & Maurizio De Angelis - Digitmovies 
Il ginecologo della mutua
 - Renato Serio - Beat 
La pistole non discutono (Bullets Don't Argue) 
- Ennio Morricone - Beat 
Lacrima Movies Trilogy
 - Franco Micalizzi - Digitmovies 
Papillon [reissue]
- Jerry Goldsmith - Quartet
Stelvio Cipriani Soundtracks Rarities Vol. 1
 - Stelvio Cipriani - Digitmovies  
 - Ennio Morricone - EMCD 


June 21 - Hilding Rosenberg born (1892)
June 21 - Lalo Schifrin born (1932)
June 21 - Eumir Deodato born (1942)
June 21 - Philippe Sarde born (1948)
June 21 - Nils Lofgren born (1951)
June 21 - Paul Dunlap records his score for Hellgate (1952)
June 21 - Kasper Winding born (1956)
June 21 - Piero Umiliani begins recording his score for Big Deal on Madonna Street (1958)
June 21 - Dario Marianelli born (1963)
June 21 - Elmer Bernstein begins recording his score to 7 Women (1965)
June 21 - Gerald Fried's score for the Star Trek episode "Catspaw" is recorded (1967)
June 21 - Chinatown released in Los Angeles and New York (1974)
June 21 - Bert Kaempfert died (1980)
June 21 - Arthur B. Rubinstein begins recording his score for Another Stakeout (1993)
June 21 - John Ottman begins recording his score to Cellular (2004)
June 22 - Todd Rundgren born (1948)
June 22 - Elmer Bernstein begins recording his score for It’s a Dog’s Life (1955)
June 22 - The Guns of Navarone opens in New York (1961)
June 22 - Darius Milhaud died (1974)
June 22 - Burrill Phillips died (1988)
June 22 - Rene Garriguenc died (1998)
June 22 - Cyril Ornadel died (2011)
June 22 - James Horner died (2015)
June 22 - Douglas M. Lackey died (2016)
June 22 - Harry Rabinowitz died (2016)
June 23 - Peter Knight born (1917)
June 23 - Rolf Wilhelm born (1927)
June 23 - Francis Shaw born (1942)
June 23 - Bernard Herrmann begins recording his score for The Snows of Kilimanjaro (1952)
June 23 - Yann Tiersen born (1970)
June 23 - Howard Shore begins recording his score to The Fly (1986)
June 23 - Carlo Savina died (2002)
June 23 - Allyn Ferguson died (2010)
June 23 - Fred Steiner died (2011)
June 24 - Jeff Beck born (1944)
June 24 - Patrick Moraz born (1948)
June 24 - Anja Garbarek born (1970)
June 24 - Jerry Goldsmith begins recording his score for The Russia House (1990)
June 24 - Maurice Jarre begins recording his score for The Setting Sun (1991)
June 25 - Carly Simon born (1945)
June 25 - Victor Young begins recording his score for Shane (1952)
June 25 - Pascal Gaigne born (1958)
June 25 - Wolfram de Marco born (1966)
June 25 - Maurice Jarre begins recording his score for The Mackintosh Man (1973)
June 26 - John Greenwood born (1889)
June 26 - Dave Grusin born (1934)
June 26 - George Bassman died (1997)
June 27 - John McCarthy born (1961)
June 27 - Nelson Riddle begins recording his score for Batman (1966)
June 27 - Einar Englund died (1999)



"Aside from an opening montage showcasing how Garfield always gets his lazy, food-grubbing way, there’s not much to distinguish the character by more than his marketable design, while the story mostly adheres to the obvious motions: establishing the divide between Garfield and Vic before having them inevitably reconcile as father and son. That’s not a bad template to follow, given that the target demographic will have barely started school, but 'The Garfield Movie' never has the confidence needed to convey its narrative with a consistent tone. At its best, the action is sub-Looney Tunes slapstick: nothing to write home about, but sufficiently amusing if you don’t want your cartoon characters to look like they’re getting hurt too badly. But then the pacing will grind to a halt as soft, melancholic piano music underpins moments of emotional growth, an apparent bid to appeal to parents’ sense of maturity that unnecessarily drags out the experience. Faced with the choice of boring either kids or their parents, 'The Garfield Movie' can’t even fully commit to being a key-jangling distraction."
Leigh Monson, The Onion AV Club 
"I cannot claim to understand why 'The Garfield Movie' has a surprising number of Pulp Fiction cast members, or why it borrows theme music from two different Paramount-made Tom Cruise movies."
Jesse Hassenger, Paste Magazine 

"Those Cruise-inspired Easter eggs are laid not necessarily for kids but for the adults who have accompanied them to the theater, such as when the score references 'Mission: Impossible' while an ox named Otto, voiced by Ving Rhames (who plays Cruise’s techie Luther in the action franchise), lays out the plan for a heist. Later, a triumphant climax featuring airborne food-delivery drones offers the chance for a bit of the 'Top Gun' theme while Garfield (voiced by Chris Pratt) brags that he does his own stunts, 'just like Tom Cruise.'"
Katie Walsh, Los Angeles Times 

"As anyone familiar with cartoonist Jim Davis’ iconic feline character knows, Garfield doesn’t like to move around very much. He likes to eat, particularly pepperoni pizza and lasagna, and he likes to lie around and make sarcastic comments. In other words, he’s not a cat of action. And yet for some reason, the creators of the new animated film revolving around him think that what the audience really wants is to watch Garfield engage in 'Mission: Impossible'-style, stunt-laden violent mayhem. It’s as if Charlie Brown was starring in the new James Bond movie. And in case you think I’m stretching things to make a point, 'The Garfield Movie' employs the 'MI' theme during one scene and features that film series’ Ving Rhames as the voice of a bull who orchestrates the derring-do. After one particularly harrowing sequence, Garfield, voiced by Chris Pratt, comments, 'In case you’re wondering, I do my own stunts. Me and Tom Cruise.'"
Frank Scheck, The Hollywood Reporter

THE OLD WAY - Morgan Smith
"The first part of the problem is that Donowho’s competent but uncompelling oater doesn’t have enough fresh meat on its bones to fill out its Western cosplay. While Morgan Smith’s jaunty score does its best to summon memories of 'My Darling Clementine,' and Carl W. Lucas’ threadbare script channels the same one-way modernity that 'Shane' once rode towards an uncertain sunset, 'The Old Way' clearly lacks the ambition to shoot for any identity of its own."
David Ehrlich, IndieWire 

"Illuma's deployment of different textures, colors, and lighting schemes to contrast past and present evokes the work of Barry Jenkins, and it's remarkable how much agonizing detail the segment manages to impart about the relationship's failure without spelling everything out. Much of the dramatic heavy lifting is done in reactive closeups of Jacobs and Nwokocha; and through Alex Krispin's score, which serves as an endoskeleton for the whole project, though it's too subtle to proclaim that aspect of its function."
Matt Zoller Seitz,  
SHE IS LOVE - Chris Hyson
"The actors commit. They dig in and they dig deep. The handheld camera is chosen on purpose -- the better to convince us this is real life, right? Forty minutes in, that camera gently skitters around Idris and Patricia; they are reminiscing, they are drinking too much, they are getting too close. They get up and dance, and Adams does something interesting. He replaces whatever song they’re bopping up and down to with a spare piano score. He slows the tempo of the action down, and he makes thoughtful shot selections, honing where the audience fixes its gaze. We’re not thinking about the song; we’re watching how these two move and parsing what it means."
Kimberley Jones, The Austin Chronicle
THE STRANGERS: CHAPTER 1 - Justin Caine Burnett
"It’s disappointing to see Harlin show so little enthusiasm for even the fundamental nuts and bolts of this genre exercise. Missing is the original film’s precise sense of visual geography and all those rigorous compositions from which the strangers would hypnotically float in and out of on the edges, replaced by a far more generic and haphazard visual aesthetic. And instead of tomandandy’s spooky soundscape from the original film or the ’80s power ballads of Johannes Roberts’s fitfully enjoyable sequel, 'Prey at Night,' 'Chapter 1''s mechanically bombastic score feels transplanted from one of the low-grade action film that Harlin has been churning out for the last decade. A couple of routine jump scares are effective but only inasmuch as a loud sound following a period of silence is known to provoke a physiological response in a viewer."
Mark Hanson, Slant Magazine 

"The movie is meant to be all about the quick glimpse at the killers, making the audience second-guess what they just saw. The direction here lets all of those quiet terrors get lost, instead bringing a big-studio glossy feel to a story not made for it. In the original, the first time we see Man in the Mask, it takes you a second to realize he’s in the house -- allowing for a slow release of horror. Here, it couldn't be shoved in your face more plainly. There’s no build-up or slow release. Renny Harlin’s stylings are too impatient for it. The booming score spoonfeeds you what you’re meant to feel, taking the audience further out of the dreadful atmosphere. For the recreation of the iconic 'Is Tamera home?' scene, instead of using lighting to darken the culprit's face, it's heavily digitized to look more like a social media avatar before you've picked your profile photo."
Emma Kiely, Collider 

"Landon’s aesthetic is bright, flat, and colorful, marked by predictable rhythms and and overuse of popular pop songs intermingled with a standard-issue 'whimsical comedy' score by Tom Howe. The most interesting design elements of these kinds of films are usually the wigs (Bates sports an orange bob here) as well as Keaton’s costumes. In 'Summer Camp,' she wears her signature bowler hats and glasses and performs archery in a three-piece suit. In one of the film’s only legitimately (and unintentionally) funny jokes, Ginny Moon gives Nora a makeover and her new look is a full skirt paired with a crisp white Oxford and a giant belt, one of Keaton’s most iconic outfits going back to 'Because I Said So' (2007), something real Keaton-heads would clock right away."
Katie Walsh, Los Angeles Times 

"As 'Summer Camp' moves through its unfunny physical humor, unconvincing disasters and quickly resolved 'tensions,' Tom Howe’s chirpy score assures us that everything will be OK. But along the way there are cutting zingers from Ginny, who takes no prisoners when it comes to her rid-yourself-of-toxic-relationships credo. However harsh her remarks, especially those aimed at the unhappily married Mary, we know that most of the time she’s right. We also know that Landon has drained any friction from Mary’s dilemma by making her husband (Tom Wright) so blatantly clueless and wrong for her."
Sheri Linden, The Hollywood Reporter 

"It’s the kind of pinpoint accuracy, highly structured screenwriting that sometimes rings false if the filmmakers sit on their laurels and bring nothing else to it. But Joachim Rønning’s film never rests. Every scene is photographed with great zeal by cinematographer Óscar Faura ('A Monster Calls') and scored with glorious sweep by Amelia Warner ('Mr. Malcolm’s List'). The cast, to a one, understands the purpose they serve in the screenplay and hit their plot points hard. But they all bring personality to their characters, making even the archest of villains -- and Jabez Wolffe qualifies -- feel at home in this world."
William Bibbiani, The Wrap

"There is an old-fashioned yet modern beauty and grandeur to Rønning’s style here, which is meticulously produced and costume-designed, and shot with sweeping, epic camera movements by Oscar Faura, yet edited with a swift narrative efficiency by Úna Ní Dhonghaíle. Set to a triumphal score by Amelia Warner, there’s a hint of Bruckheimer’s 'Pirates of the Caribbean'-style jauntiness to the powerful orchestration that adds to the sense of melodrama at play."
Katie Walsh, Los Angeles Times 

"Rønning, a frequent Disney director whose credits include 'Maleficent: Mistress of Evil' and 'Pirates of the Caribbean: Dead Men Tell No Tales' (with Espen Sandberg), leans hard into the uplifting notes of the film. A soaring, string-heavy score composed by Amelia Warner assumes the role of emotional supervisor early on, calibrating our mood to triumph and tragedy."
Lovia Gyarkye, The Hollywood Reporter 


Screenings of older films in Los Angeles-area theaters.

June 21
ALL THAT JAZZ (Ralph Burns) [Egyptian
AMARCORD (Nino Rota) [New Beverly]
ARRIVAL (Johann Johannsson) [BrainDead Studios]
CABARET (John Kander, Ralph Burns) [Egyptian]
CHILD'S PLAY (Michael Small) [Aero]
CLIFFORD (Richard Gibbs) [Vidiots]
DEAD OR ALIVE (Koji Endo) [Nuart]
DEEP RED (Giorgio Gaslini) [Alamo Drafthouse]
DUNE (Toto) [New Beverly]
GUY AND MADELEINE ON A PARK BENCH (Justin Hurwitz) [Los Feliz 3]
E.T. THE EXTRA-TERRESTRIAL (John Williams) [Vidiots]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter) [Vista]
HEARTBURN (Carly Simon) [Vidiots]
KILL BILL: VOL 2 (RZA, Robert Rodriguez) [New Beverly]
MS. 45 (Joe Delia) [BrainDead Studios]
QUINCEANERA (Micko, Victor Bock) [Academy Museum]
TAXIDERMIA (Albert Markos, Amon Tobin) [Los Feliz 3]
VAMPIRE'S KISS (Colin Towns) [Alamo Drafthouse]

June 22
BE KIND REWIND (Jean-Michel Bernard) [Landmark Westwood]
BILL & TED'S EXCELLENT ADVENTURE (David Newman) [New Beverly]
BLADE RUNNER 2049 (Benjamin Wallfisch, Hans Zimmer) [BrainDead Studios]
CLUELESS (David Kitay) [Academy Museum]
DEEP RED (Giorgio Gaslini) [Alamo Drafthouse]
THE EXILES [Academy Museum]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter) [Vista]
GATTACA (Michael Nyman) [Vidiots]

A GOOFY MOVIE (Carter Burwell) [Vidiots]
HELLO, DOLLY! (Jerry Herman, Lennie Hayton, Lionel Newman) [Egyptian]
LITTLE SHOP OF HORRORS (Alan Menken, Miles Goodman) [Los Feliz 3]
LIQUID SKY (Slava Tsukerman, Brenda I. Hutchinson, Clive Smith)  [BrainDead Studios]
NAKED ACTS (Cecilia Smith) [Los Feliz 3]
NIGHT WARNING (Bruce Langhorne) [New Beverly]
POPSTAR: NEVER STOP NEVER STOPPING (Matthew Compton) [Los Feliz 3]
RISKY BUSINESS (Tangerine Dream) [Vidiots]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart] 
SMILEY FACE (David Kitay), SCARY MOVIE 2 [New Beverly]
SORRY TO BOTHER YOU (Nate Brenner, Merrill Garbus) [Los Feliz 3]
THE SOUND OF MUSIC (Richard Rodgers, Irwin Kostal) [Egyptian]
VAMPIRE'S KISS (Colin Towns) [Alamo Drafthouse] 
WHO FRAMED ROGER RABBIT (Alan Silvestri) [Academy Museum]
THE WIZARD (J. Peter Robinson) [Alamo Drafthouse]

June 23
ANNIE (Charles Strouse, Ralph Burns) [Egyptian]
BILL & TED'S EXCELLENT ADVENTURE (David Newman) [New Beverly]
CITIZEN KANE (Bernard Herrmann) [Los Feliz 3]
FORBIDDEN ZONE (Danny Elfman) [Los Feliz 3]
GHOST IN THE SHELL 2: INNOCENCE (Kenji Kawai) [Vidiots]
HUKKLE (Balazs Barna, Samu Gryllus) [Los Feliz 3]
SMILEY FACE (David Kitay), SCARY MOVIE 2 [New Beverly]
SMOG (Piero Umiliani) [Academy Museum]
SWEET CHARITY (Cy Coleman) [Egyptian]
TREMORS (Ernest Troost) [BrainDead Studios]
VAMPIRE'S KISS (Colin Towns) [Alamo Drafthouse]  
THE WIZARD (J. Peter Robinson) [Alamo Drafthouse]
YOU CAN'T TAKE IT WITH YOU (Dimitri Tiomkin) [Academy Museum] 

June 24
HARD TARGET (Graeme Revell) [Los Feliz 3]
MINIONS (Heitor Pereira) [Alamo Drafthouse]
SINGLE WHITE FEMALE (Howard Shore), PACIFIC HEIGHTS (Hans Zimmer) [New Beverly]
SWOON (James Bennett) [Academy Museum]
TIE ME UP! TIE ME DOWN! (Ennio Morricone) [Alamo Drafthouse]
THE WIZARD (J. Peter Robinson) [Alamo Drafthouse]

June 25
BUT I'M A CHEERLEADER (Pat Irwin) [Landmark Pasadena]
DEEP RED (Giorgio Gaslini) [Alamo Drafthouse] 
OCEAN'S ELEVEN (David Holmes) [Los Feliz 3]
SINGLE WHITE FEMALE (Howard Shore), PACIFIC HEIGHTS (Hans Zimmer) [New Beverly]
THE SPIRIT OF THE BEEHIVE (Luis de Pablo) [Aero]
TIE ME UP! TIE ME DOWN! (Ennio Morricone) [Alamo Drafthouse]
UHF (John Du Prez) [Alamo Drafthouse]
VAMPIRE'S KISS (Colin Towns) [Alamo Drafthouse]   
THE WIZARD (J. Peter Robinson) [Alamo Drafthouse]

June 26
DEEP RED (Giorgio Gaslini) [Alamo Drafthouse]
EUROPA EUROPA (Zbigniew Preisner) [Aero]
FORBIDDEN PLANET (Louis & Bebe Barron), THE TIME MACHINE (Russell Garcia) [New Beverly]
OCEAN'S TWELVE (David Holmes) [Los Feliz 3]
PRISONERS (Johann Johannsson) [BrainDead Studios]
SET IT OFF (Christopher Young) [Vidiots]
UNION MAIDS [Academy Museum]

June 27
FORBIDDEN PLANET (Louis & Bebe Barron), THE TIME MACHINE (Russell Garcia) [New Beverly]
THE IMITATION GAME (Alexandre Desplat) [Los Feliz 3]
THE LIVING END (Cole Coonce) [Academy Museum]
OCEAN'S THIRTEEN (David Holmes) [Los Feliz 3]

June 28
EASY RIDER [Alamo Drafthouse]
ENEMY (Danny Bensi, Saunder Jurriaans) [BrainDead Studios]
HOLY MOTORS [BrainDead Studios]
KILL BILL: VOL. 2 (RZA, Robert Rodriguez) [New Beverly]
THE MAN WHO FELL TO EARTH (John Phillips) [Egyptian]
MARIA CANDELARIA (Francisco Dominguez) [Academy Museum]
THE MUPPET MOVIE (Paul Williams, Kenny Ascher) [Vidiots]
A NIGHTMARE ON ELM STREET (Charles Bernstein) [New Beverly]
OUT OF THE BLUE (Tom Lavin) [Vidiots]
THE 39 STEPS [Vista]
TRON: LEGACY (Daft Punk) [Nuart]
WOMEN IN LOVE (Georges Delerue) [aERO]

June 29
BATMAN: MASK OF THE PHANTASM (Shirley Walker) [New Beverly]
THE BIRDCAGE (Jonathan Tunick) [Aero]
BULLET IN THE HEAD (Sherman Chow) [Egyptian]
DARK PASSAGE (Franz Waxman) [Vidiots]
DUNE (Hans Zimmer) [BrainDead Studios]
DUNE: PART TWO (Hans Zimmer) [BrainDead Studios]
EDWARD II (Simon Fisher Turner) [Academy Museum]
FACE/OFF (John Powell) [Vidiots]
THE FOG (John Carpenter) [Vidiots]
GO FISH (Brendan Dolan, Jennifer Sharpe) [Alamo Drafthouse]
KABOOM  (Robin Guthrie, Videk Maddala, Mark Peters, Ulrich Schnauss) [New Beverly]
ONWARD (Mychael Danna, Jeff Danna) [Academy Museum]
THE PERKS OF BEING A WALLFOWER (Michael Brook) [Academy Museum]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart] 
ROME, OPEN CITY (Renzo Rossellini) [Egyptian]
THE 39 STEPS [Vista]
WHO WAS THAT LADY? (Andre Previn) [Vista]

June 30
ALL THE KING'S MEN [Academy Museum]
BATMAN: MASK OF THE PHANTASM (Shirley Walker) [New Beverly]
BORN ON THE FOURTH OF JULY (John Williams) [Alamo Drafthouse]
CREMASTER 5 (Jonathan Bepler), CREMASTER 2 (Jonathan Bepler) [Egyptian]
THE GODFATHER (Nino Rota) [Vidiots]
KISS ME DEADLY (Frank De Vol) [Academy Museum]
LICENCE TO KILL (Michael Kamen) [Alamo Drafthouse]
964 PINOCCHIO (Hiroyuki Nagashima) [BrainDead Studios] 
PAISAN (Renzo Rossellini), GERMANY, YEAR ZERO (Renzo Rossellini) [Egyptian]
WHO WAS THAT LADY? (Andre Previn) [Vista] 


Wild Tigers I Have Known (Archer); Love Songs (Beaupain); Savage Grace (Velazquez); Milk (Elfman); Were the World Mine (Fogle/Sandusky); Howl (Burwell); The Kids Are All Right (Burwell)

Read: The Glass Inferno, by Thomas N. Scortia and Frank M. Robinson

Seen: Cora Bora; The Watchers; Tuesday; Bless Their Little Hearts

Watched: Star Trek: Picard ("Assimilation"); Arrested Development ("The One Where Michael Leaves"); Star Trek: Generations; The Americans ("Baggage"); Bob's Burgers ("Ear-sy Rider")

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July 24
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