Scottie Beam is living beyond her wildest dreams. One year since making her most fearless career move yet, the Hot 97 alum sits alongside Joe Budden, Remy Ma, and Brandon "Jinx" Jenkins on Revolt TV's State of the Culture.
The unfiltered show on all things hip-hop was three episodes in, and garnering over one million views, when I met up with the media personality in midtown Manhattan at the dawn of fall. Sporting a JAY-Z 4:44 T-shirt on what she deems a chill day in her schedule, Scottie breaks her stride on 7th Avenue when she runs into a former coworker, who seizes the chance encounter to celebrate her success beyond the building she called home for 10 years.
However, once she and I decided on an impromptu dinner at a Friday's nearby, she cuts no corners to discuss her latest win. She, instead, takes her time revisiting a season in her life that didn't seem to hold much promise at all.
As the daughter of WBLS veteran Shaila Scott, the Bronx native, née Deanii Scott, naturally developed a deep passion for music as a child but resisted patterning her steps after her mother's. "I fought it a bit," she reveals. "I didn't think that my talent was in radio, and I wanted to find something else I was really good at only to come right back around to the radio station."
At 17, she started out as a KISS FM street team member and later joined Hot 97 when the iconic R&B station folded in 2012. At that time, a day in the life looked like setting up tables, grabbing a mic, and giving voice to the audience fueling the station where hip-hop lives. "Now that I think about [it], it was a great time, but back then I hated it," she says, describing the job as both electrifying and exhausting.
While, in retrospect, the street team granted her an opportunity to build the foundation for her rise in the years to come, Scottie entered college unconvinced that she had a future in radio and soon began to sink under the pressure of pinpointing her purpose. "I was drowning," the onetime Clark Atlanta University student explains. "I didn't know exactly what my calling and existence on this earth was. That's how deep it went."
"I didn't know exactly what my calling and existence on this earth was. That's how deep it went."
Miles from her support system at home and unable to find one on campus, Scottie made the decision to drop out of school her junior year. "I hit this dark road where I just quit and locked myself in a room," she tells me. "I was severely depressed. I did not want to be here anymore. I didn't think anything would be missing if I did not exist. That was my darkest time."
In search for the deeper meaning of her life, Scottie returned to New York, and tried her hand at fashion as an employee at Vinnies Styles, all while holding down her spot on Hot 97's street team. "I got in, and then I realized that I was trash at making clothes, so I was like, What exactly am I supposed to do?" she recalls. "I've tried everything – anything that I thought I was good at."
Though Scottie fought to zoom in on what she wanted to do, her work ethic was never called into question. When she landed an unpaid internship at Columbia Records (after concealing her status as a college dropout), she tested her stamina to the extreme. "I'll work until I'm tired. Until I have no more hands, no more feet, or no more voice," she stresses. "Once they eventually found out [that I lied], they kept me around because they knew I worked hard."
Within two summers, Scottie made her presence felt at the label but ultimately discovered she had little interest in the business of music. "I just love music," she emphasizes. "I love the artistry and the way it makes people feel and putting people on to that."
As she inched closer to the essence of her passion, Scottie began to grow weary of staying still at Hot 97. "I think it's important to set time limits on certain things, especially things that you know you don't want to do forever," she says. "I've seen people do 10, 15, 20 years on street team, and I didn't want that to be me."
Since she couldn't muster the funds to travel between New York and her home in Piscataway, New Jersey, Scottie slept at the station many nights. With little money to her name, she also forwent food on several occasions. "I was tired of that kind of struggle," she expresses.
With no desire to abuse her mother's support, Scottie was ready to chart her own path—even if that meant giving up music. After lying on her resume once again, she secured a fashion merchandising job at Adidas. The day she planned to quit street team, however, the universe intercepted with bigger plans: Angie Martinez was interested in Scottie joining her team as a digital producer.
"That's favor. That was God," she says with conviction. "He knew I was going to hang that sh*t up. I was done, but even if you say it's over, it's really not over until God says so. A lot of people will quit on you, but God won't."
Pink Pig Productions
"Even if you say it's over, it's really not over until God says so. A lot of people will quit on you, but God won't."
Under the influence of the Voice of New York, Scottie got a dose of the impact she could one day make behind the mic. "Angie has taught me so much," she reflects. "Seeing how much of a boss she is, how serious she takes this craft, really pushed me to at least mirror some of the things that I learned."
Responsible for generating content on social media, Scottie spotted a gap she wanted to fill. "I don't see a lot of Black women talk about music, unfortunately. Not a lot of Black women have voices, period, in this industry," she explains. "I decided to give it a try."
When Angie Martinez made the decision to join Power 105.1 in 2014, marking the end of an era at Hot 97, Scottie dug deeper into her goal as a digital producer for Ebro In The Morning. "That's when I really started to realize what it is that I wanted to do," she reveals.
Dedicated to amplifying unsigned artists, Scottie curated playlists on her own time and took hold of the chance to produce Hot 97's Who's Next showcase. "Putting people on to new artists was one of my favorite things to do, so having the opportunity to do that every month was a gift," she reminisces.
When I ask when it all became unfulfilling, Scottie notes that the walls of the station began to close in on her as the desire to be limitless blossomed. With no room for growth, the only thing left to do was stare at the ceiling. "It was the biggest honor ever to sit in that building," she assures. "I learned so much, but it was time."
Moved by Nina Simone's musings on freedom, Scottie submitted her two-weeks' notice in May 2017. "I never felt I could exist without [Hot 97]," the former digital producer admits. "I felt like it defined me because I thought that that's what careers were supposed to do: the brand is supposed to define you and when it doesn't anymore, you find another brand. Then, I realized that I was the brand."
"I realized that I was the brand."
In the months to come, Scottie landed opportunities to work with Revolt TV, HBO, and Nike. She would later host Broccoli City Festival 2018 (marking hosting a first in her career) and narrate Reebok's "Flipping The Game" podcast centered on women in the sneaker industry.
In between her success, she also collided with sheer disappointment. In November 2017, the radio personality landed her own weekend show with New York City's Satori Radio and was promoted to the prime time slot a mere month later. Before the end of January, however, the online station shut down entirely, leaving Scottie in a funk. "It's really the name of the game in radio," she chimes on the harsh reality. "One day you're on air, the next could be your last."
Throughout it all, Scottie spun one verse from J. Cole's "Premeditated Murder" into an affirmation: Keep grinding girl, your life can change in one year. "His music was definitely the reason why I decided to get out of bed some days or why I decided to try again or take an opportunity I wasn't confident about," she shares.
As she navigated wins and losses, Scottie poured into a mounting fan base of Black women tuned into her personal journey as one of five voices behind the Black Girl Podcast. "Ebro had always taught me that when it's your show, you have to be transparent. Nothing is to be left off the mic," she says when discussing the nature of the show.
The ladies of 'Black Girl Podcast'
Pink Pig Productions
The audio series – also hosted by Hot 97 alumni Gia Peppers, Sapphira Martin, Rebecca "Bex" Francois, and Alysha Pamphile – has drawn more than one million downloads since its premiere in December 2016, unlocking a deeper dimension to Scottie's ever-crystallizing destiny. "It helps Black women feel seen, and I didn't know I was that passionate about it until it was happening," she muses.
It's a zeal she carries with her as a panelist on State of the Culture, which she tested for numerous times before gracing YouTube and television screens this past September. "Easily, I'm the most hated," she insists. "I've gotten some crazy, crazy letters."
And yet, whether discussing sexual abuse or double standards attached to women, Scottie has no plans on muting her voice to make others comfortable. "The color of my skin and my gender have already pissed people off, so why stop there?" she says. "My heart is in this work. There is no way that something can be ugly or stomped on when it's made with nothing but love and true intent."
As Scottie and I wrapped up our meal, she reveals she still has no map to guide her on her road to success—but this time, she's perfectly fine with that. "None of this was my vision. I just wanted to create. I just wanted to do stuff that meant something. I wanted to do something that people would remember," she says. "I want one person to feel like if she went through this sh*t and went through a bunch of failures, there'll be a win somewhere. I'm sure I'm not done failing, but I also know I'm not done winning either."
To keep up with Scottie, follow her on Instagram.
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Shanice Davis is a writer from New York, dedicated to illuminating women of color and Caribbean culture with her pen. Follow her on Instagram and Twitter: @alwayshanice.
Amber Riley Is In Her Element
Amber Riley has the type of laugh that sticks with you long after the raspy, rhythmic sounds have ceased. It punctuates her sentences sometimes, whether she’s giving a chuckle to denote the serious nature of something she just said or throwing her head back in rip-roarious laughter after a joke. She laughs as if she understands the fragility of each minute. She chooses laughter often with the understanding that future joy is not guaranteed.
Credit: Ally Green
The sound of her laughter is rivaled only by her singing voice, an emblem of the past and the future resilience of Black women stretched over a few octaves. On Fox’s Glee, her character Mercedes Jones was portrayed, perhaps unfairly, as the vocal duel to Rachel Berry (Lea Michele), offering rough, full-throated belts behind her co-star’s smooth, pristine vocals. Riley’s always been more than the singer who could deliver a finishing note, though.
Portraying Effie White, she displayed the dynamic emotions of a song such as “And I'm Telling You I'm Not Going” in Dreamgirls on London’s West End without buckling under the historic weight of her predecessors. With her instrument, John Mayer’s “Gravity” became a religious experience, a belted hymnal full of growls and churchy riffs. In her voice, Nicole Scherzinger once said she heard “the power of God.”
Credit: Ally Green
Riley’s voice has been a staple throughout pop culture for nearly 15 years now. Her tone has become so distinguishable that most viewers of Fox’s The Masked Singer recognized the multihyphenate even before it was revealed that she was Harp, the competition-winning, gold-masked figure with an actual harp strapped to her back.
Still, it wasn’t until recently that Riley began to feel like she’d found her voice. This sounds unbelievable. But she’s not referring to the one she uses on stage. She’s referencing the voice that speaks to who she is at her core. “Therapy kind of gave me the training to speak my mind,” the 37-year-old says. “It’s not something we’re taught, especially as Black women. I got so comfortable in [doing so], and I really want other people, especially Black women, to get more comfortable in that space.”
“Therapy kind of gave me the training to speak my mind. It’s not something we’re taught, especially as Black women."
If you ask Riley’s manager, Myisha Brooks, she’ll tell you the foundation of who the multihyphenate is hasn’t changed much since she was a kid growing up in Compton. “She is who she is from when I met her back when she was singing in the front of the church to back when she landed major roles in film and TV,” Brooks says. Time has allowed Riley to grow more comfortable, giving fans a more intimate glimpse into her life, including her mental health journey and the ins and outs of show business.
The actress/singer has been in therapy since 2019, although she suffered from depression and anxiety way before that. In a recent interview with Jason Lee, she recalls having suicidal ideation as a kid. By the time she started seeing a psychologist and taking antidepressants in her thirties, her body had become jittery, a physical reminder of the trauma stacked high inside her. “I was shaking in [my therapist’s] office,” she tells xoNecole. “My fight or flight was on such a high level. I was constantly in survival mode. My heart was beating fast all the time. All I did was sweat.”
There wasn’t just childhood trauma to account for. After auditioning for American Idol and being turned away by producers, Riley began working for Ikea and nearly missed her Glee audition because her car broke down on the highway while en route. Thankfully, Riley had been cast to play Mercedes Jones. American Idol had temporarily convinced her she wasn’t cut out for the entertainment industry, but this was validation that she was right where she belonged. Glee launched in 2009 with the promise of becoming Riley’s big break.
In some ways, it was. The show introduced Riley to millions of fans and catapulted her into major Hollywood circles. But in other ways, it became a reminder of the types of roles Black women, especially those who are plus-sized, are relegated to. Behind the scenes, Riley says she fought for her character "to have a voice" but eventually realized her efforts were useless. "It finally got to a point where I was like, this is not my moment. I'm not who they're choosing, and this is just going to have to be a job for me for now," she says. "And, that's okay because it pays my bills, I still get to be on television, I'm doing more than any other Black plus-sized women that I'm seeing right now on screen."
The actress can recognize now that she was navigating issues associated with trauma and low self-esteem at the time. She now knows that she's long had anxiety and depression and can recognize the ways in which she was triggered by how the cult-like following of the show conflicted with her individual, isolated experiences behind the scenes. But she was in her early '20s back then. She didn't yet have the language or the tools to process how she was feeling.
Riley says she eventually sought out medical intervention. "When you're in Hollywood, and you go to a doctor, they give you pills," she says, sharing a part of her story that she'd never revealed publicly before now. "[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that's not fixing my problem. If anything, it's making it worse."
“[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that’s not fixing my problem. If anything it’s making it worse.”
Credit: Ally Green
At one point, while in her dressing room on set, she rested her arm on a curling iron without realizing it. It wasn't until her makeup artist alerted her that she even realized her skin was burning. Once she noticed, she says she was "so zonked out on pills" that she barely reacted. Speaking today, she holds up her arm and motions towards a scar that remains from the incident. She sought help for her reliance on the pills, but it would still be years before she finally attended therapy.
This stress was only compounded by the trauma of growing up in poverty and the realities of being a "contract worker." "Imagine going from literally one week having to borrow a car to get to set to the next week being on a private jet to New York City," she says. After Glee ended, so did the rides on private planes. The fury of opportunities she expected to follow her appearance on the show failed to materialize. She wasn't even 30 yet, and she was already forced to consider if she'd hit her career peak.
. . .
We’re only four minutes into our Zoom call before Riley delivers her new adage to me. “My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway,” she says.
On this Thursday afternoon in April, the LA-based entertainer is seated inside her closet/dressing room wearing a cerulean blue tank top with matching shorts and eating hot wings. This current phase of healing hinges on balance. It’s about having discipline and consistency, but not at the risk of inflexibility. She was planning to head to the gym, for instance, but she’s still tired from the “exhausting” day before. Instead, she’s spent her day receiving a massage, eating some chicken wings, and planning to spend quality time with friends. “I’m not going to beat myself up for it. I’m not going to talk down to myself. I’m going to eat my chicken wings, and then tomorrow I’m [back] in the gym,” she says.
“My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway."
This is the balance with which she's been approaching much of her life these days. It's why she's worried less about whether or not people see her as someone who is humble. She'd rather be respected. "I think you should be a person that's easy to work with, but in the moments where I have to ruffle feathers and make waves, I'm not shying away from that anymore. You can do it in love, you don't have to be nasty about it, but I had to finally be comfortable with the fact that setting boundaries around my life – in whatever aspect, whether that's personal or business – people are not going to like it. Some people are not going to have nice things to say about you, and you gotta be okay with it," she says.
When Amber talks about the constant humbling of Black women in Hollywood, I think of the entertainers before her who have suffered from this. The brilliant, consistent, overqualified Black women who have spoken of having to fight for opportunities and fair pay. Aretha Franklin. Viola Davis. Tracee Ellis Ross. There's a long list of stars whose success hasn't mirrored their experiences behind the scenes.
Credit: Ally Green
If Black women outside of Hollywood are struggling to decrease the pay gap, so, too, are their wealthier, more famous peers.
Riley says there’s been progress in recent years, but only in small ways and for a limited group of people. “This business is exhausting. The goalpost is constantly moving, and sometimes it’s unfair,” she says. But, I have to say it’s the love that keeps you going.”
“There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman,” she continues. “We’re still niche. We’re still not main characters.”
"There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman. We’re still niche. We’re still not main characters.”
Last year, Riley starred alongside Raven Goodwin in the Lifetime thriller Single Black Female (a modern, diversified take on 1992’s Single White Female). It was more than a leading role for the actress, it also served as proof that someone who looks like her can front a successful project without it hinging on her identity. It showcased that the characters she portrays don’t “have to be about being a big girl. It can just be a regular story.”
Riley sees her work in music as an extension of her efforts to push past the rigid stereotypes in entertainment. Take her appearance on The Masked Singer, for instance. Riley said she decided to perform Mayer’s “Gravity” after being told she couldn’t sing it years earlier. “I wanted to do ‘Gravity’ on Glee. [I] was told no, because that’s not a song that Mercedes would do,” she says. “That was a full circle moment for me, doing that on that show and to hear what it is they had to say.”
As Scherzinger praised the “anointed” performance, a masked Riley began to cry, her chest heaving as she stood on stage, her eyes shielded from view. “You have to understand, I have really big names – casting directors, producers, show creators – that constantly tell me ‘I’m such a big fan. Your talent is unmatched.’ Hire me, then,” she says, reflecting on the moment.
Recently, she’s been in the studio working on original music, the follow-up to her independently-released debut EP, 2020’s Riley. The sequel to songs such as the anthemic “Big Girl Energy” and the reflective ballad “A Moment” on Riley, this new project hones in on the singer’s R&B roots with sensual grooves such as the tentatively titled “All Night.” “You said I wasn’t shit, turns out that I’m the shit. Then you called me a bitch, turns out that I’m that bitch. You said no one would want me, well you should call your homies,” she sings on the tentatively titled “Lately,” a cut about reflecting on a past relationship. From the forthcoming project, xoNecole received five potential tracks. Fans likely already know the strengths and contours of Riley’s vocals, but these new songs are her strongest, most confident offerings as an artist.
“I am so much more comfortable as a writer, and I know who I am as an artist now. I’m evolving as a human being, in general, so I’m way more vulnerable in my music. I’m way more willing to talk about whatever is on my mind. I don’t stop myself from saying what it is I want to say,” she says.
Credit: Ally Green
“Every era and alliteration of Amber, the baseline is ‘Big Girl Energy.’ That’s the name of her company,” her manager Brooks says, referencing the imprint through which Riley releases her music after getting out of a label deal several years ago. “It’s just what she stands for. She’s not just talking about size, it’s in all things. Whether it’s putting your big girl pants on and having to face a boardroom full of executives or sell yourself in front of a casting agent. It’s her trying to achieve the things she wants to do in life.”
Riley says she has big dreams beyond releasing this new music, too. She’d love to star in a rom-com with Winston Duke. She hasn't starred in a biopic yet, but she’d revel in the opportunity to portray Rosetta Tharpe on screen. She’s determined that her previous setbacks won’t stop her from dreaming big.
“I think one of my superpowers is resilience because, at the end of the day, I’m going to kick, scream, cry, cuss, be mad and disappointed, but I’m going to get up and risk having to deal with it all again. It’s worth it for the happy moments,” she says.
If Riley seems more comfortable and confident professionally, it’s because of the work she’s been doing in her personal life.
She’d previously spoken to xoNecole about becoming engaged to a man she discovered in a post on the site, but she called things off last year. For Valentine’s Day, she revealed her new boyfriend publicly. “I decided to post him on Valentine’s Day, partially because I was in the dog house. I got in trouble with him,” she says, half-joking before turning serious. “The breakup was never going to stop me from finding love. Or at least trying. I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness, and you enjoy it and work through it.”
Credit: Ally Green
"I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness and you enjoy it and work through it.”
With her ex, Riley was pretty outspoken about her relationship, even appearing in content for Netflix with him. This time around is different. She’s not hiding her boyfriend of eight months, but she’s more protective of him, especially because he’s a father and isn’t interested in becoming a public figure.
She’s traveling more, too. It’s a deliberate effort on her part to enjoy her money and reject the trauma she’s developed after experiencing poverty in her childhood. “I live in constant fear of being broke. I don’t think you ever don’t remember that trauma or move past that. Now I travel and I’m like, listen, if it goes, it goes. I’m not saying [to] be reckless, but I deserve to enjoy my hard work.”
After everything she’s been through, she certainly deserves to finally let loose a bit. “I have to have a life to live,” she says. “I’ve got to have a life worth fighting for.”
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Better Off Braless: The Benefits Of Not Wearing A Bra More Often
Somewhere between the start of the pandemic and entering the late stages of my 20s, bras become less and less of a priority.
Within that span of time, I, like most of the world, spent my days inhabiting my small bubble, staying in the house with loose-fitting loungewear, and being on Zoom calls that only required me to be presentable from the neck up. So as the demand to have my breasts at their perkiest form, so did my commitment to wearing bras.
The relationship that most women have with their bras is… well, complicated. While society has led us to believe that they’re required for us to be deemed as “ladylike” and “neat,” many of us find the garment to be a bothersome (and optional) accessory at best.
From underwires that poke and dig at our sides to push-ups that spill over, the argument in support of bras has begun to wane over the last few decades, with women of all cup sizes asking themselves if it’s better to just go braless.
Courtesy of Harper Wilde
“Many years ago, I ditched wired bras and opted for going braless out of a desire for freedom and celebrating natural human form,” multi-hyphenate Alyson Stoner tells xoNecole. The movement activist best known for their fly dance moves with the likes of Missy Elliott and on Step Up 2: The Streets, shares that when it comes to their bra selection, comfort is key. “As someone who enjoys moving their body, I found that I do want an underlayer that provides some support without interfering with comfort and mobility.”
A source of concern when choosing to go braless is whether or not the lack of support from a bra will, in turn, affect the firmness of one’s breast, resulting in early sagging. However, Sabrina Sahni, M.D., an oncologist at Mayo Clinic in Florida, shares that breast sagging is a result of age, not whether you’ve ditched your bras.
“Sagging breasts – also called ptosis – generally occurs due to chronic aging,” she tells xoNecole. “The breast is made up of a combination of glandular and fibrous tissue and fat tissue. Over time, the glandular tissue may become replaced with fattier tissue, and that can lead to more sagging. Wearing a bra or not wearing a bra ultimately does not change that.”
"Wearing a bra or not wearing a bra ultimately does not change that."
Women with heavier breasts may find that going braless may have its set of drawbacks, but Dr. Sahni says that you should always pay attention to your comfort levels since bras are a garment designed to support your back and correct your posture. “Those with heavier or larger breasts who choose to go braless may actually have worsening back/neck/shoulder pain,” she says. “Wearing a bra may allow them to correct their posture and help alleviate tension on those muscle groups.”
“Women with larger breasts may benefit from wearing a well-fitted, supportive bra as it may alleviate things like upper back pain or neck pain,” she shares.
Listening to your body is key when choosing whether you want to toss out your bras forever or just for a day. The beauty in a woman’s body is that it will tell us what we need to know before we even have to ask. There are common misconceptions about tighter bras being linked to causing health issues like breast cancer.
And while studies do show that Black women are “twice as likely to be diagnosed with breast cancer early when compared with Caucasian women,” the manifestation of this disease is predetermined by other varying factors.
“There are a lot of myths out there about going braless being better for breast cancer risk. It is completely false,” Dr. Sahni explains. “Whether or not you wear a bra does not have any bearing on your overall breast cancer risk. Ultimately, your risk is dependent on a variety of factors, including family history, your breast density, your lifestyle, and your reproductive history.”
If you’re looking for classic, weightless comfort that’s close to going braless, Alyson Stoner recommends Harper Wilde, a body-inclusive intimates brand on a mission to create a more comfortable world for womankind. They currently have a capsule collection with the intimates brand in partnership with their company, Movement Genius.
“Harper Wilde has been my go-to for years now because the materials are truly soothing on my sensitive skin, the amount of support feels like you're being gently hugged (not squeezed), and the styles are flattering and beautiful enough to wear as shirts or visible layers,” they say.
Courtesy of Harper Wilde
The brand offers super soft, breathable cotton fabric in their Triangle and Scoop Bralettes ($40 each) that will put the bliss and comfort back in your bosom.
Dr. Sahni says that choosing to opt out of bras or keep them close to your chest “truly depends on the individual” but it should be understood that “wearing or not wearing a bra won't significantly impact your overall health.”
“Ultimately, it comes down to comfort. There are some women with chronic breast pain where perhaps changing their bras to something more supportive and well-fitted may help,” she says. “Alternatively, some women find that going bra-less will alleviate their breast pain. I tell women that they should choose a bra that is comfortable for them, feels supportive, and one that they can wear regularly.”
So whether you choose to free the tatas or wear a bra that feels like it’s barely there, remember to listen to your body because ultimately, the choice is yours.
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