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Weird SoundCloud
Weird SoundCloud
Weird SoundCloud
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Weird SoundCloud, or SoundClown,[1][2] is a mashup parody music scene taking place on the online distribution platform SoundCloud. The scene has been described by its producers and music journalists to be a satirical take on electronic dance music, and useless, throwaway internet content. One critic, Audra Schroeder, categorized it as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms."

Origins

[edit]

In a January 2014 interview, DJ Kevin Wang suggested that the Weird SoundCloud has "been around in the last one to two years", but started to gain much more popularity the previous year through electronic dance music internet blogs.[3] Weird SoundCloud producer Ideaot suggested that some in the phenomenon came from the YouTube poop scene.[3] Another producer in the community, DJ @@ (AT-AT), reasoned that producers joining the scene "want to express their musicality, see it as a more mature form of YouTube Poop," or are "just looking for recognition on social media sites."[2] AT-AT said that it was "a fun thing to do, and after I stopped making proper music I felt I needed a bit of an outlet for my creativity. The fact that people enjoyed it and/or treated it as a travesty (Direct quote from one of my tracks) spurs me on."[2]

Characteristics

[edit]

Weird SoundCloud is a mash-up and parody music genre labeled by journalist Audra Schroeder as an in-joke that is "deconstructing and reshaping memes and popular music, recontextualizing the sacred texts of millennial chat rooms."[3] Most tracks range from around 30 seconds to one minute in length.[2] The people who make weird SoundCloud are known as SoundClowns, a term coined by producer Dicksoak.[3] Ideaot described the weird SoundCloud community as "largely just people who are friends with each other."[3]

Noisey critic Ryan Bassil spotlight the variety of music coming out of the weird SoundCloud landscape: "One minute you could be listening to the Seinfeld theme reimagined as an aneurysm inducing dubstep corker, the next, you're recovering from hearing a version of Tenacious D's "Tribute" that's akin to having a stroke."[4] Bassil analyzes that the tracks "often take the past and repurpose it into something that, although not altogether useful, sounds fresh and reflective of the abstract, confusing panoramic that encapsulates the modern internet."[4] Bassil compared the lexicon of SoundClown's track titles to that of Reddit and Twitter users.[4]

According to Dicksoak, most works of the style are critiques of EDM or "are just uploaded because they sound funny."[3] However, Bassil disagreed, writing that there are also many tracks that keep repurposing a certain meme, such as "mom's spaghetti" or the re-use of vocals from recordings by hip hop group Death Grips.[4] He describe the scene's re-use of memes as a satirical take on pointless online content that is only on the internet to "do nothing other than fill the void":

They're changing the format of the original work's intended message or audience - a technique often employed by top-tier digital media companies - and in doing so they're sarcastically, ironically, taking the piss out of what Web 2.0's turned into - an open arena where the most ridiculous, unashamed, often pointless piggy-back content can rack up thousands and thousands of clicks.[4]

Notable examples

[edit]

There are mash-ups that "disrupt the flow of popular music", in the words of writer Schroeder, such as a "flutedrop" remix of the Miley Cyrus song "Wrecking Ball" and Shaliek's mashup of music by Bruno Mars and Korn.[3]

In November 2013, Wang released a set of mp3 files on SoundCloud named Best Drops Ever, which included tracks like "A Drop So Epic a Bunch of NYU Bros Already Bought a 3-Day Weekend Pass for It" and "A Drop So Crazy You'll Kill Your Family".[3][5] All of the tracks start as normal electronic dance music build-ups, before they drop into a "bait and switch" audio or film clip such as Filet-O-Fish commercials, the Whitney Houston song "I Will Always Love You" and the film Bambi (1942) that ruins the anticipation.[4][3][5] The collection is a parody of the over-importance and over-focus of the drop and lack of care of the overall quality of a song common in the modern electronic dance music scene.[5] Wang has released more than 45 tracks in the weird SoundCloud, some of them receiving around a million plays.[4]

Subgenres of Weird SoundCloud include Macklecore, mash-ups and remixes that include the works of American hip-hop recording artist Macklemore, and Biggiewave, which include samples of songs from the album Ready to Die (1994) by The Notorious B.I.G.[3]

Common audio and meme sources used include Skrillex, the Martin Garrix track "Animals", Thomas the Tank Engine, Shrek, Macklemore, "Gangnam Style", the Bruno Mars track "Uptown Funk", the Disturbed track "Down with the Sickness", Space Jam, the Childish Gambino track "Bonfire",[6][7][8] the Death Grips track "Takyon"[9][10][11] and air horn sound effects.[2]

Reception

[edit]

Bassil praised the SoundClown scene as "loveable and strangely honest", reasoning that it "just reminds me that we're all humans on the internet, all searching for #content that means something, something to connect with, but usually only dredging up bastardised versions of things we've already read, seen, or watched before."[4] Bassil also described the weird SoundCloud as a more successful version of a similar scene known as weird YouTube; the reason for the success of SoundClowns is due to SoundCloud's discovery algorithm: "Small collectives and trends are able to form, and there's an abundance of tracks from artists who are almost forging careers out of it, as opposed to uploading one viral hit."[4] Publications have made lists of weird SoundCloud works, such as BuzzFeed's "23 Of The Weirdest Songs On Soundcloud",[12] Obsev's "Weird SoundCloud Mashups That Must've Been Made While Drunk",[13] and Thump's "9 of the Best and Most Upsetting Soundclowns we Could Find", where writer Isabelle Hellyer called it the "most influential genre of music in human history."[1] A Your EDM writer called it "oddly addicting."[2]

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Weird SoundCloud

View on Grokipedia
from Grokipedia
Weird SoundCloud, also known as SoundClown or the SoundClowns scene, is a niche on the audio-sharing platform that emerged in the early , characterized by short, humorous mashups, parodies, and remixes blending , memes, soundtracks, and pop culture elements into surreal or provocative audio experiments. This scene typically features tracks lasting under one minute, often repurposing familiar audio clips—such as Eminem's "mom's spaghetti" line from "Lose Yourself" mashed with Las Ketchup's "The Ketchup Song"—to create quick bursts of comedy, irony, or cultural critique, reflecting millennials' extensive daily media consumption and desire to recontextualize content in a post-meme internet era. Originating around 2013–2014 as an extension of online communities like Weird Twitter and YouTube Poop, it gained traction through EDM blogs and word-of-mouth sharing among young, predominantly male users who treat the platform as a playground for in-jokes and experimental sound design. Notable subgenres within Weird SoundCloud include Macklecore, which mashes up rapper Macklemore's tracks with other hits, and Biggiewave, featuring vaporwave-style remixes of 's samples, alongside broader examples like theme song edits or alien-themed twists on songs. The community often satirizes mainstream EDM culture while fostering a sense of exclusivity, with prominent creators such as Ideaot (known for " Is Funny") and DJ Detweiler (featured on ) exemplifying its blend of absurdity and creativity. By the mid-2010s, it had carved out a peripheral space on , which boasted over 175 million unique listeners at the time, appealing to those seeking the platform's more unconventional underbelly.

History

Origins

Weird SoundCloud emerged as a niche scene on the audio-sharing platform around 2012–2013, coinciding with the rapid mainstream growth of (EDM). Producers began uploading mashup tracks that subverted conventional EDM structures through absurd humor and ironic sampling, initially circulating within tight-knit online groups. In a January 2014 , DJ Kevin Wang, known under the handle "Best Drops Ever," noted that the phenomenon had "been around in the last one to two years," with accelerated activity in the preceding year as the broader EDM scene exploded in popularity, prompting more experimental and satirical takes on the genre. A primary influence on Weird SoundCloud stemmed from the YouTube Poop (YTP) culture, where creators recontextualized media clips through nonlinear editing, sentence mixing, and humorous distortions to produce chaotic remixes. Producer Ideaot, an early contributor with tracks like "Macklerena," attributed much of the scene's ethos to this YTP background, explaining that "a lot of the current users were also active in the YouTube Poop community" and describing the output as an extension of those video-based parodies into audio form. This connection fostered a shared aesthetic of deconstruction and irony, drawing participants from overlapping online spaces like Weird Twitter. Early recognition within the community came from figures such as DJ Kevin Wang, who highlighted the scene's role as a playful to mainstream EDM production. Tracks gained initial traction through in small, friend-based communities in 2013, before broader exposure via EDM-focused blogs and articles in late 2013 and early 2014. This organic spread marked the transition from insular experimentation to wider niche awareness within the ecosystem.

Development and Peak

The Weird SoundCloud scene experienced rapid growth beginning in 2014, fueled by coverage in music media outlets that highlighted its eccentric mashup parodies and drew attention to the burgeoning uploads on the platform. Articles from Noisey and Your EDM introduced wider audiences to the phenomenon, showcasing its humorous, distorted remixes and leading to a surge in , with listens and shares increasing as creators emulated the style. This exposure solidified the community's expansion, transforming isolated experiments into a recognizable trend on . By 2015-2016, the scene reached its peak, marked by heightened activity and cultural recognition, including the formation of dedicated playlists and the widespread use of tags like "SoundClown," a term coined by Dicksoak to categorize the mashups. These organizational tools on facilitated discovery and collaboration, amplifying the genre's meme-driven virality through shared compilations and user interactions. In May 2016, Thump (a publication) proclaimed SoundClown the "single most influential genre of music in " in a feature article, underscoring its hyperbolic impact and the explosion of tracks blending popular songs with altered pitches and BPMs. Signs of decline emerged post-2016 amid SoundCloud's and subsequent policy shifts, which reduced visibility for short tracks. In 2017, the platform laid off 40% of its workforce and intensified enforcement following partnerships, aggressively removing works like mashups through automated identification systems and issuing strikes to creators. Additionally, repost limits implemented earlier in 2015 curtailed the promotional tactics commonly used in communities, diminishing the algorithmic reach of niche, non-monetized content and contributing to the scene's waning prominence.

Characteristics

Musical Style

Weird SoundCloud tracks typically last between 30 seconds and one minute, featuring a structure that mimics (EDM) conventions with extended build-ups of rising tension that culminate in absurd, non-musical "drops" designed for comedic disruption rather than resolution. This format subverts expectations by abruptly splicing in unrelated audio, often resolving the anticipated climax with chaotic or incongruent elements that defy traditional musical progression. Central to the genre's production is the mashup technique, which layers disparate audio sources to create ironic collages, such as samples from EDM artists like combined with television show clips (e.g., the theme) or commercial jingles. These elements are edited together using basic splicing methods, emphasizing rapid juxtaposition over seamless integration to heighten the surreal humor. The lo-fi production values are a hallmark, achieved through free or accessible software for quick, unpolished edits that prioritize satirical intent over sonic refinement, resulting in raw, amateurish aesthetics that amplify the genre's appeal. This approach satirically exaggerates EDM tropes, such as repetitive tension builds, by resolving them into non-musical chaos, thereby critiquing the formulaic nature of mainstream electronic music.

Thematic Elements

Weird SoundCloud embodies a core theme of parodying the excesses of (EDM) and viral internet memes by recontextualizing everyday media to create comedic disruption and absurdity. Creators often juxtapose familiar audio elements in unexpected ways, such as inserting dramatic EDM drops into non-EDM tracks or layering ironic commentary over pop culture clips, highlighting the over-the-top nature of mainstream online content. This approach serves as a satirical commentary on the saturation of , where mundane sounds are elevated to ridiculous heights for humorous effect. Common sources for these parodies include pop songs, metal tracks, and non-musical clips from movies, TV shows, or advertisements, which are repurposed to mock viral trends and consumer culture. For instance, Miley Cyrus's "" has been reimagined with flute drops and EDM builds to exaggerate its emotional intensity into farce, while Korn's heavy riffs are mashed with lighter genres like tracks to underscore genre clashes. Non-music elements, such as theme snippets or Mario 64 sound effects, are frequently woven in to amplify the surreal humor, transforming nostalgic or commercial audio into chaotic, meme-driven narratives. The emphasis on absurdity and irony critiques millennial content consumption, portraying a generation immersed in endless media loops that prioritize virality over substance. As noted in a Noisey analysis, this scene reflects a "starting to eat itself," where diligent repurposing of content becomes a joke on Web 2.0's feedback mechanisms, sarcastically amplifying throwaway trends like 18-hour daily media diets. Themes often target EDM's formulaic drops and hype, using them to disrupt expectations and expose the ironic underbelly of internet fame. Over time, Weird SoundCloud's themes evolved from broad satires of EDM culture in the early 2010s to more niche explorations of internet subcultures, spawning specialized offshoots that delved into specific memes or artist reinterpretations. Emerging around 2012–2013 from influences like Weird Twitter and YouTube Poop communities, it initially focused on general EDM mockery but later fragmented into targeted parodies, such as Macklecore's mashups of Macklemore tracks or Biggiewave's vaporwave-style remixes of The Notorious B.I.G., reflecting a shift toward hyper-specific online humor. This progression underscores the scene's adaptability to evolving digital subcultures while maintaining its ironic core.

Community and Culture

Key Participants and Terminology

The Weird SoundCloud scene features several prominent creators who pioneered its satirical mashup style, often drawing from online humor traditions. Kevin Wang emerged as an early influencer with his "Best Drops Ever" series, a collection of tracks that built EDM-style tension only to subvert it with absurd samples, such as barking dogs or children's songs, as a direct critique of the genre's formulaic drop obsession. Shaliek contributed eclectic mashups blending pop and metal elements, exemplified by a fusion of vocals with Korn's nu-metal riffs, highlighting the scene's playful genre collisions. Ideaot, influenced by YouTube Poop editing techniques, produced tracks like "Macklerena," a warped of the 1990s hit fused with samples, bridging video and audio parody. DJ @@ (AT-AT) added to the eclectic mix with remixes such as an altered take on Avicii's "Levels," incorporating unexpected elements that aligned with the community's disruptive ethos. Central to the scene's identity is specialized terminology that reinforces its insider humor and distinction from mainstream users. Participants often self-identify as "SoundClowns," a tag embracing the clownish, ironic nature of their output and originating as an within the group, coined by creator Dicksoak. "Flutedrop" refers to a substyle of parodies featuring flute or recorder solos inserted in place of heavy bass drops, pioneered by DJ Detweiler in remixes like a recorder-heavy version of Miley Cyrus's "," which mocks EDM's predictable builds. These terms underscore the community's focus on absurdity over commercial viability, setting it apart from typical platform uploads. The Weird ethos emphasizes collaboration through anonymous, low-stakes uploads, fostering a tight-knit micro-social network among young creators who share techniques and memes across platforms like Weird Twitter. As described in mid-2010s coverage, this dynamic encouraged rapid experimentation without formal structures, prioritizing communal irony over individual fame. Artists' motivations center on playful against EDM's homogenization, using to expose its repetitive tropes—such as endless buildups to generic drops—and to inject humor into oversaturated digital music spaces.

Online Presence and Interactions

The Weird SoundCloud scene, often referred to as "SoundClown," primarily operated on 's free upload model, which facilitated the rapid sharing of short, experimental tracks through targeted tags such as #weirdsoundcloud. This accessibility allowed creators to upload bizarre mashups and ironic edits without barriers, fostering a niche where concise pieces—typically under two minutes—circulated via metadata and clever titles for easy discovery. Interactions within the community emphasized playful , with comment sections serving as hubs for humorous, absurd feedback that reinforced in-jokes and memetic . Reposts among participants, known as SoundClowns, acted as endorsements, amplifying visibility within the platform's feed and building communal approval without traditional promotion. Creators often cross-posted content to platforms like and (now X) for broader reach, creating viral loops through shareable "sonic shitposts" that blended comedic juxtapositions with hyper-referential samples. Blogs played a pivotal role in discovery; for instance, a Your EDM article spotlighted the scene's eccentric tracks, drawing attention and encouraging further uploads in a self-sustaining cycle. Post-2016 challenges arose from SoundCloud's operational shifts, including massive layoffs and financial instability in , which disrupted content moderation and discovery mechanisms, limiting organic reach for niche uploads. By the , these issues contributed to a fragmented presence, as the scene's influence seeped into microgenres like dariacore and digicore on diversified platforms such as and , where short-form virality supplanted 's original community-driven model, although tags like #soundclown and playlists continue to see use on as of 2025.

Notable Works

Prominent Tracks

One of the foundational works in Weird SoundCloud is Kevin Wang's "Best Drops Ever" series, released in November 2013 as a collection of tracks that satirize electronic dance music (EDM) conventions by building tension with typical drop anticipation before abruptly inserting unrelated audio samples, such as commercial jingles or film excerpts. This approach exemplifies the genre's emphasis on subverting expectations for humorous effect, with titles like "A Drop So Epic a Bunch of NYU Bros Already Bought a 3-Day Weekend Pass For It" highlighting the ironic critique of EDM hype. In 2014, DJ Detweiler's "Flutedrop" remix of Miley Cyrus's "" emerged as an iconic entry, replacing the song's climactic drop with an exaggerated solo to create a deliberately absurd and disruptive listening experience. Uploaded to under the handle D.J. Detweiler, the track quickly amassed hundreds of thousands of plays and inspired a wave of user-generated variants, establishing "flutedrop" as a template within online music communities. Its viral spread underscored the genre's appeal in blending pop accessibility with nonsensical parody. Shaliek contributed to the genre's mashup tradition in 2015 with a track blending Bruno Mars's smooth pop vocals with Korn's heavy nu-metal riffs, producing a jarring yet comedic contrast that amplified the disruptive humor central to Weird SoundCloud. This fusion highlighted the community's interest in cross-genre collisions to provoke reactions, gaining traction among niche listeners for its bold stylistic dissonance. Early producer Ideaot advanced YTP-influenced audio editing in tracks from 2013 onward, such as mashups fusing television show clips and other media samples with EDM beats to mimic the chaotic, remixed style of YouTube Poop videos. Examples like "Macklerena," which splices Macklemore's "Thrift Shop" with the "Macarena" dance hit, demonstrated how these edits influenced subsequent works by bridging video remix culture with SoundCloud's audio experimentation.

Subgenres and Variations

Weird SoundCloud's core parody style, which juxtaposes high-energy EDM builds with abrupt, incongruous drops, evolved into distinct subgenres as creators experimented with specific artists and aesthetics starting in 2014. Macklecore emerged as one of the earliest subgenres, characterized by mashups and remixes centered on American rapper , particularly reworking his 2012 hit "" into ironic, overproduced tracks that subvert its thrifty, everyman vibe with exaggerated EDM elements and unexpected samples, such as fusions with the "." This style gained traction in 2014, reflecting the community's satirical take on mainstream hip-hop's commercial appeal. Biggiewave followed in 2015, blending vaporwave's lo-fi nostalgia and slowed-down samples with tracks from The Notorious B.I.G.'s 1994 album Ready to Die, creating surreal hip-hop remixes that layer East Coast rap flows over dreamy, retro synths and distorted beats. Pioneered by user Dicksoak, it exemplified how Weird SoundCloud creators expanded parody beyond EDM to incorporate genre-blending nostalgia, appealing to fans of both hip-hop classics and internet meme culture. Other variations further diversified the scene around 2014-2015, including metal-EDM hybrids that merge heavy metal riffs with electronic drops, such as mashups of Korn and , and ad-jingle drops featuring tension-building EDM structures resolving into mundane commercial jingles or random audio clips. These offshoots highlighted the community's drive to critique and popular music forms, moving beyond initial EDM-focused into broader experimental territory.

Reception and Legacy

Critical Reception

Contemporary reviews of Weird SoundCloud during its peak in the mid-2010s highlighted its appeal as an ironic and inventive take on electronic music production. In a March 2015 Noisey article, Ryan Bassil described the genre as "loveable and strangely honest," praising its repurposing of memes and samples as a commentary on content saturation. Similarly, a July 2015 Your EDM piece by Matthew Meadow characterized Soundclown tracks—short, humorous clips blending EDM elements with —as "oddly addicting," noting their ability to draw listeners into unexpected sonic experiments despite their unconventional structure. By 2016, outlets continued to celebrate its creative parody. Thump's May 2016 feature by Isabelle Hellyer curated nine standout examples, dubbing them the "best and most upsetting" Soundclowns and lauding the genre's audio memes as a "gamechanger" that often surpassed the quality of the originals they mimicked, emphasizing innovation in mashups and emotional absurdity. Critics occasionally viewed Weird SoundCloud as niche or overly simplistic, particularly among EDM traditionalists who saw its meme-driven deconstructions as a juvenile critique of mainstream electronic dance music's formulas. A 2014 Daily Dot analysis noted that many tracks mocked hits like Skrillex's work or Martin Garrix's "Animals" for lacking originality, positioning the genre as an in-joke for a young, internet-savvy audience rather than serious artistry, though its short-form accessibility broadened its reach beyond purist circles. Overall, it was recognized as a distinctly millennial phenomenon, emerging as a response to the oversaturated digital media landscape where constant content consumption fostered ironic recontextualization.

Cultural Influence and Current Status

Weird SoundCloud's experimental ethos contributed to the platform's role as a hub for underground experimentation, enabling global communities to share sounds without gatekeepers and launching subgenres that prioritized raw creativity over commercial polish. This style extended to audio trends, where short, distorted clips from tracks—characterized by slowed-down samples and nostalgic vibes—fueled viral dance challenges and edits, boosting the genre's visibility among Gen Z users. The legacy of Weird SoundCloud solidified the platform's reputation as a space for ironic and lo-fi hip-hop aesthetics during the mid-2010s rise of SoundCloud rap. However, its prominence faded amid platform shifts, including 's 2025 AI policy updates in May, which sparked backlash over potential content use in training models before being revised to require explicit opt-in consent for such use. From 2020 onward, broader culture saw resurgences in underground hip-hop scenes post-lockdown, amid a return to online music communities. New activity in niche experimental tracks like those in Weird SoundCloud remained minimal as of November 2025, with the platform's emphasizing such as reposts and playlists. On a broader scale, Weird SoundCloud highlighted persistent issues of content ownership in mashups, where automated detection systems on platforms like made sharing difficult for 69% of surveyed producers and reduced motivation for 56% due to takedowns and uncertain protections under doctrines. These challenges influenced legal debates around transformative works in copyright law.

References

  1. https://www.vice.com/en/article/the-weird-nether-region-of-soundcloud-and-the-millennial-desire-to-recontextualise-content/
  2. https://www.dailydot.com/upstream/weird-soundcloud-soundclowns-edm-mashups/
  3. https://www.youredm.com/2015/07/23/discover-the-weird-side-of-soundcloud-better-known-as-soundclown/
  4. https://www.vice.com/en/article/here-are-9-of-the-best-and-most-upsetting-soundclowns-we-could-find/
  5. https://www.theverge.com/2017/7/21/15999172/soundcloud-business-model-future-spotify-streaming
  6. https://www.complex.com/pop-culture/a/quenton-narcisse/weird-soundcloud
  7. https://www.maxim.com/entertainment/dj-kevin-wang-creates-best-drop-parody-soundcloud-playlist-ever/
  8. https://soundcloud.com/djatat/avicii-levels-remix
  9. https://www.theguardian.com/culture/2014/apr/01/rip-frankie-knuckles-bad-april-fools-and-flute-drops-todays-pop-culture-as-it-happens
  10. https://news.artnet.com/art-world/detweiler-john-cage-soundcloud-crusade-383462
  11. https://www.melodigging.com/genre/soundclown-24012
  12. https://www.nytimes.com/2017/08/01/magazine/if-soundcloud-disappears-what-happens-to-its-music-culture.html
  13. https://www.wired.com/story/what-soundcloud-created-can-never-die/
  14. https://soundcloud.com/tags/soundclown
  15. https://www.dailydot.com/upstream/reddit-dj-worst-drops-ever-soundcloud/
  16. https://www.vice.com/en/article/the-creator-of-the-flutedrop-rick-rolled-our-interview/
  17. https://www.thedailybeast.com/the-mystery-of-flutedrop-dj-detweiler-pairs-miley-cyrus-with-woodwinds
  18. https://treendly.com/blog/phonk-the-underground-music-genre-that-is-taking-over-soundcloud-and-tiktok
  19. https://www.musicbusinessworldwide.com/soundcloud-fixes-ai-policy-following-backlash-ceo-eliah-seton-says-ai-should-support-artists-not-replace-them/
  20. https://ourgenerationmusic.com/editorials/meet-the-new-wave-the-resurgence-of-soundcloud-culture/
  21. https://hmc.chartmetric.com/soundcloud-trends-2025-josh-baker-electronic/
  22. https://policyreview.info/articles/analysis/mashup-music-expression-displaced-and-expression-foregone
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