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Broadway’s Jews gather in response to neo-Nazi protest
(New York Jewish Week) – Twenty-four hours after neo-Nazi agitators heckled ticket-holders outside the first preview of “Parade,” a musical about a notorious antisemitic incident, Jewish members of New York’s theater community came together to share their emotions and reactions and look to the future.
The gathering, organized by producer and actor Ari Axelrod, was held on a rainy Wednesday afternoon in a rehearsal space at Open Jar Studios in Times Square. It was just three blocks north of the Bernard B. Jacobs Theatre, where “Parade” is currently in previews. About 50 people from all ranks of the theater industry — from Broadway producers and marquee stars to undergraduate students in college shows — joined the conversation.
Starring Jewish actor Ben Platt, “Parade” tells the story of Leo Frank, a Jewish factory manager accused and found guilty of murdering a girl who worked for him, despite little evidence. In 1915, Frank was kidnapped from jail and lynched by a mob, and the case led to the creation of the Anti-Defamation League and a resurgence of interest in the Ku Klux Klan.
At the show’s first preview on Feb. 21, protestors who identified with the National Socialist Movement, a neo-Nazi group headquartered in Florida, accused Frank of being a pedophile and condemned audience members for paying to support pedophiles and Jews.
“The story about Leo Frank is not a new one. They could be protesting anywhere. But there is a reason they knew that that play was happening and where it was happening,” said Axelrod, who told the New York Jewish Week that he has been thinking about holding a gathering in response to antisemitism for nearly two years. “It feels like they came into our home, not just our home as Jews, but our home as theater artists.”
Axelrod, 28, opened by leading the Shehechiyanu, a prayer of gratitude, and a round of deep breaths.
“The intention for today is not to find a solution to the rise in antisemitism or even the solution to what happened yesterday,” Axelrod told the crowd. “The intention is to be in a space and find community and gather as Jews, which is what we’ve been doing for thousands of years. To commiserate and talk and bear witness to how we’re feeling and how other people are feeling, to be seen and heard and held and valued and validated as an individual and as a member of a community.”
The room was full of Jewish and some non-Jewish people in the theater industry of all ages who wanted to express their thoughts and ideas about the protests. (Julia Gergely)
Many in the room felt fear, sadness, frustration and anger at the events. For an assistant on the production team of “Parade” — who asked to remain anonymous because he came to process his own feelings and not as a representative of the show — “it was emotional, especially because not everyone on the team is Jewish. So just being there as a Jewish person, hearing them say that to people going into the show was hard.”
However, he noted the importance of committing to see and work on the show. “Just being at the show last night was its own protest to what they were saying,” he said, adding that the team behind “Parade” is committed to ensuring a safe environment for everyone involved and that they don’t want to let the protests deter people from seeing the show, which is scheduled to run through Aug. 6.
Elliott Masie, a Broadway producer who was on the line with his wife when the threats and jeers began, said his initial reaction was surprise. “I couldn’t discern what they were about at first. They tried to pretend that they were against pedophiles, but then their rhetoric escalated and they started to go up to people in the line and say ‘You paid so much for this, to advocate for a Jew.’ The moment I heard them say the word ‘Jew,’ I realized what they were,” he told the New York Jewish Week.
“The hardest part was that it seemed like most people coming into the theater didn’t understand who they were,” Masie, 72, added.
Still, he said, the show was wonderful. “I’ve never been at a first preview that had as prolonged an ovation. In some ways, they stole the moment. We have to give the moment back and give the moment to all of us. The ultimate love and support we need to do is show the cast and the company that we’re here,” he said.
Over the last year, Jewish stories have been having a moment on Broadway and off, with “Funny Girl,” “Leopoldstadt” and “Fiddler on the Roof in Yiddish” all coming to the stage in 2022. Surrounding each show has been discussions of their relevance at time when watchdog groups have been reporting a rise in antisemitic incidents.
“The entire cast of our show and company was scared last night that we were going to walk out to something similar,” said David Krumhotlz, who is in the final weeks of his role as patriarch Hermann Merz in “Leopoldstadt,” Tom Stoppard’s play about the Holocaust. “Thank God it didn’t. We stand in solidarity not only with ‘Parade,’ but with the entire Jewish Broadway community.”
Yael Chanukov, a cast member of “Fiddler on the Roof in Yiddish,” spoke about the safety and security discussions the cast and crew had during the show’s run and the fear and anxiety she felt at times doing such a proudly Jewish show that otherwise was one of the most fulfilling experiences of her life.
The Bernard B. Jacobs Theatre, where “Parade” is in previews, Feb. 22, 2023. (Julia Gergely)
For many, it was an exhalation of years of frustration and confusion over minor and major antisemitism they said they experienced in the theater industry and beyond.
While Axelrod said the goal of Wednesday’s gathering wasn’t to find solutions, by the end of the evening, he had cemented an idea for a Jewish advocacy coalition within the theater industry. He said it might offer resources and tools for how to speak up and show up to support the Jewish theater community.
Representatives from the Anti-Defamation League and Jews for Racial & Economic Justice who were at the meeting offered to help get contacts and funding if the idea were to get off the ground.
“The general tenor that I’m getting is that no one is asking the theater community to make the fight against antisemitism the top priority. Just make it a priority,” Axelrod said.
Actor and writer Mike Haber, 31, had tickets for Wednesday night’s performance of “Parade.”
“Last night, I literally couldn’t even sleep because of what happened,” he said. “This is so beautiful to see so many theater people and we’re all coping with the same emotions and feelings.”
Ninety minutes before the Wednesday evening performance began, the rain had stopped and all was calm in front of the theater. Haber took pictures and burst out singing the show’s tunes. “I love this,” he said. “I can’t wait to see it.”
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The post Broadway’s Jews gather in response to neo-Nazi protest appeared first on Jewish Telegraphic Agency.
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NYU student draws hate crime charges for flying flag with swastikas, Star of David over campus building
(New York Jewish Week) — A New York University student is facing hate crime charges for allegedly raising a flag depicting a Star of David, two swastikas and the letters “NYU” over a university building during commencement last month.
Alexander Stepnowsky, 23, of Fairfield, Connecticut, was arrested Tuesday afternoon on the Lower East Side of Manhattan and charged with one count of hate crime burglary, two counts of aggravated harassment and one count of criminal trespassing in a hate crime, according to the New York City Police Department.
An NYU spokesperson said Stepnowsky would also face discipline from the university.
“The symbols that were represented are antisemitic and hateful to every person of conscience; this appalling act violated our sense of community and solidarity,” said the spokesperson, Wiley Norvell. “In addition to criminal proceedings, we will immediately pursue our disciplinary procedures, which carry the most severe consequences.”
The arrest comes as NYU has faced heightened scrutiny over antisemitism and anti-Israel rhetoric on its campus in recent years. In 2024, the school revised its hate speech policy to define slurs against “Zionists” as potentially in violation of its harassment code. During this year’s commencement, the school withheld the diploma of student who used his address to accuse Israel of genocide.
The flag depicting the swastikas flew briefly over the roof of New York University’s Steinhardt building, named for the major Jewish philanthropists Michael and Judy Steinhardt, during the school’s commencement on May 13.
Michael Steinhardt is a co-founder of Birthright, the organization that underwrites free trips to Israel for young Jewish adults.
Stepnowsky pleaded not guilty at his arraignment Wednesday and was released without bail, according to CBS News.
The office of Stepnowsky’s lawyer, Vickie Mwitanti, declined to comment.
The post NYU student draws hate crime charges for flying flag with swastikas, Star of David over campus building appeared first on The Forward.
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Research studies in Yiddish by noted historians, now in English
מיט װאָס זײַנען די היסטאָרישע פֿאָרשונגען אױף ייִדיש אַנדערש פֿון די, װאָס זײַנען אָנגעשריבן געװאָרן אױף אַנדערע שפּראַכן? ווי עס שרײַבט ד״ר מאַרק סמיט, דער רעדאַקטאָר פֿון דער אַנטאָלאָגיע „דאָס בּױען און טרייסטן אַ פֿאָלק: ייִדיש־שפּראַכיקע היסטאָריקער אין זײערע אײגענע װערטער“, איז דער פֿאָקוס פֿון די ייִדיש־שפּראַכיקע פֿאָרשונגען געװען אױף די אינערלעכע זײַטן פֿונעם ייִדישן לעבן.
דערצו נאָך, שרײַבט סמיט, איז זײער קוק אױף דער ייִדישער געשיכטע כּסדר געווען פּאָזיטיװ, „להיפּוך צו די אַנדערע היסטאָריקער, ייִדן און ניט־ייִדן, װאָס האָבן אין זײערע שטודיעס באַטאָנט יסורים און רדיפֿות פֿון ייִדן“.
די אַנטאָלאָגיע נעמט אַרײַן 49 אױסצוגן פֿון ייִדיש־שפּראַכיקע היסטאָרישע װערק. דאָס רובֿ פֿון זײ שטאַמען פֿון דער ערשטער העלפֿט פֿונעם צװאַנציקסטן יאָרהונדערט.
די טעקסטן זײַנען צעטײלט אין זיבן טעמאַטישע אָפּטײלן, װאָס שפּיגלען אָפּ די הױפּט־ריכטונגען פֿון פֿאָרשונגען: ייִדישע קהילה־אױטאָנאָמיע; קולטור, עקאָנאָמיק און געזעלשאַפֿט; באַציִונגען מיט די אַרומיקע אומות־העולם; ייִדישע ליטעראַטור; פּרעסע און קאָמוניקאַציעס; ייִדישע דערציִונג, און ביכער־רעצענזיעס.
יעדער אָפּטײל באַהאַנדלט די געהעריקע טעמע כראָנאָלאָגיש, פֿון פֿריִערע צײַטן ביזן חורבן. אַזױ באַקומט דער לײענער אַ ברײטן באַגריף פֿון דער היסטאָרישער אַנטװיקלונג פֿון יענעם אַסקעפּט פֿונעם ייִדישן לעבן.
דער ענין פֿון דער ייִדישער אױטאָנאָמיע האָט לעצטנס אַרויסגערופֿן אַ נײַעם אינטערעס מצד די קעגנערס פֿון מדינת־ישׂראל און איר פּאָליטיק. אַ סימן איז דער גרױסער דערפֿאָלג פֿון מאָלי קראַבעפּלס בוך װעגן דעם בונד, װאָס טענהט, אַז די פּראָגראַם פֿון דער נאַציאָנאַל־קולטורעלער אױטאָנאָמיע איז געװען בילכער פֿונעם ציוניסטישן פּראָיעקט פֿון ייִדישער מלוכישקײט.
דער גײַסטיקער פֿאָטער פֿון דער פּאָליטישער פּראָגראַם פֿון ייִדישער נאַציאָנאַל־קולטורעלער אױטאָנאָמיע אין גלות איז געװען דער היסטאָריקער שמעון דובנאָװ, וואָס איז, אַגבֿ, ניט געווען קײן בונדיסט, נאָר אַן אָנפֿירער פֿון דער ליבעראַל־דעמאָקראַטישער פֿאָלקספּאַרטײ.
די אַנטאָלאָגיע עפֿנט זיך מיט פֿראַגמענטן פֿון זײַן איבערזיכט „אױטאָנאָמיע אין דער ייִדישער געשיכטע“ אינעם ערשטן באַנד פֿון דער „אַלגעמײנער ענציקלאָפּעדיע“, װאָס איז אַרױס אין פּאַריז אין 1934.
װי אַ היסטאָריקער, האָט דובנאָװ געװאָלט אײַנװאָרצלען ייִדישע פּאָליטיק אינעם ייִדישן עבֿר. ער האָט געפֿונען אַ היסטאָרישן מוסטער פֿאַר דער מאָדערנער ייִדישער אױטאָנאָמיע אינעם „װעד ארבע אַרצות“ (ראַט פֿון די פֿיר לענדער), דעם הױפּט־אָרגאַן פֿונעם פּױלישן ייִדנטום אינעם 17טן און 18טן יאָרהונדערט.
אָבער װי עס האָבן דערװיזן אַנדערע היסטאָריקער, אַזעלכע װי ישׂראל סאָסיס, רפֿאל מאַלער און יצחק (איגנאַצי) שיפּער, האָט דובנאָװ שטאַרק אידעאַליזירט די ראָלע פֿונעם װעד.
דער װעד איז, דער עיקר, געװען פֿאַרטאָן אין זאַמלען געלט פֿון ייִדישע קהילות אױף צו שטיצן די אײגענע פֿירערשאַפֿט און צעטײלן כאַבאַר צו פּױלישע מאַגנאַטן. בלױז אַ פּאָר פּראָצענט פֿונעם בודזשעט האָט דער װעד אױסגעגעבן אױף די נױטן פֿונעם כּלל.
צום סוף האָט דער װעד ן באַנקראָטירט צוליב די ריזיקע חובֿות צו קאַטױלישע קלױסטערס. אין 1764 האָט דער פּױלישער סײם (פּאַרלאַמענט) ליקװידירט דעם װעד און באַשלאָסן צו זאַמלען שטײַערן פֿון ייִדן אױפֿן מאָדערנעם שטײגער, פֿון יחידים אַנשטאָט קהילות.
דער ערשטער טײל פֿון בוך ענדיקט זיך מיטן קאַפּיטל, ייִדישע ׳אױטאָנאָמיע׳: די יודענראַטן אונטער דער נאַציסטישער אָקופּאַציע“. דאָס איז אַ קאָמפּילאַציע פֿון דרײַ אַרטיקלען פֿון ישעיהו טרונק, װאָס אַנטפּלעקט װי זײַן נעגאַטיװע אָפּשאַצונג פֿון יודענראַטן איז געװאָרן מילדער מיט דער צײַט. ער האָט דערזען אַז אײניקע אָנפֿירער פֿון יודענראַטן האָבן טאַקע געפּרוּװט העלפֿן ייִדן אין די געטאָס.
גענומען אין אײנעם, װײַזן די דאָזיקע קאַפּילטען, אַז ייִדן האָבן קײן מאָל ניט געהאַט קײן פֿולע פּאָליטישע אױטאָנאָמיע. די חױפּט־פֿונקציע פֿון דער ייִדישער קהילה־אױטאָנאָמיע איז געװען אונטערצושטיצן באַציִונגען מיט דער הערשנדיקער מאַכט.
דאָס רובֿ אױסגעקליבענע טעקסטן באַהאַנדלען טעמעס, װאָס האָבן צו טאָן מיטן ייִדישן כּלל אָבער ניט מיט חשובֿע יחידים. און װען עס גײט די רײד טאַקע יאָ װעגן יחידים, זײַנען דאָס כּסדר געװען כּלל־טוער. למשל פֿיליפּ פֿרידמאַנס אַרטיקל דערצײלט װעגן דעם גאַליציאַנער משׂכּיל יוסף פּערל (1773־1839), דעם גרינדער פֿון דער ערשטער מאָדערנער ייִדישער שול אין טאַרנעפּל (הײַנט אין אוקראַיִנע) אין 1813.
עס פֿעלן דאָ אָבער װיכטיקע היסטאָריש־ביאָגראַפֿישע פֿאָרשונגען װעגן אײנצלנע ייִדישע שרײַבער, דיכטער, אַקטיאָרן און קינסטלער. דער דאָזיקער בלױז שפּיגלט אָפּ דעם רעדאַקטאָרס קוק אױף ייִדן אין מיזרח־אײראָפּע װי אַ „נאַציאָנאַלער גרופּע, װאָס װערט באַשטימט דורך דער בשותּפֿותדיקער געשיכטע און קולטור“. אַזױ באַקומט זיך, אַז די היסטאָרישע ראָלע פֿון אַ יחיד, אַפֿילו אַזאַ גאון װי מענדעלע מוכר־ספֿרים, איז ניט זוכה אַ ספּעציעלן קאַפּיטל.
די צװײ צענטערס פֿון ייִדישער היסטאָרישער פֿאָרשונג צװישן די בײדע װעלט־מלחמות זײַנען געװען אין פּױלן און אין סאָװעטן־פֿאַרבאַנד. אין די 1920ער יאָרן האָבן בײדע צענטערס נאָך געקענט אונטערהאַלטן קאָנטאַקטן. אין די 1930ער יאָרן איז דער אידעאָלאָגישער און פּאָליטישער דרוק מצד דער קאָמוניסטישער פּאַרטײ אין סאָװעטן־פֿאַרבאַנד געװאָרן אַ סך האַרבער, און מען האָט שױן מער ניט געקענט שאַפֿן װערטפֿולע און אָריגינעלע היסטאָרישע װערק. אַזױ איז געװען דער גורל פֿון סאָסיס, װעלכער איז אַרױסגעטריבן געװאָרן פֿון דער קאָמוניסטישער פּאַרטײ אין 1931 און האָט פֿאַרלױרן זײַן שטעלע אין דער װיסנשאַפֿט־אַקאַדעמיע פֿון בעלאַרוס.
אין פּױלן, להיפּוך, איז אױפֿגעקומען אַ נײַער דור ייִדישע היסטאָריקער, אַזעלכע װי רפֿאל מאַלער, עמנואל רינגלבלום און פֿיליפּ פֿרידמאַן, װאָס האָבן שטודירט געשיכטע אין פּױלישע אוניװערסיטעטן און האָבן געקענט דרוקן זײערע װערק אין אַקאַדעמישע זשורנאַלן אױף ייִדיש און פּױליש.
אינעם װאַרשעװער געטאָ האָט רינגלבלום אָרגאַניזירט דעם היסטאָרישן אַרכיװ „עונג־שבת“, װאָס האָט געזאַמלט מאַטעריאַלן װעגן דעם לעבן און טױט אינעם געטאָ. ער און כּמעט אַלע מיטאַרבעטער זײַנע זײַנען אומגעקומען אינעם חורבן.
די, װאָס האָבן איבערגעלעבט דעם חורבן – מאַלער, פֿרידמאַן, טרונק און אַנדערע — האָבן ממשיך געװען זײער אַרבעט, לכתּחילה אין פּױלן און שפּעטער אין אַמעריקע אָדער ישׂראל. דאָרט האָבן זײ געאַרבעט דער עיקר אין ייִװאָ און יד־ושם, און זײער פֿאָרשערישע טעמע איז געװאָרן דער חורבן.
מאַרק סמיט האָט אָנגעהױבן זאַמלען מאַטעריאַלן פֿאַר דער אַנטאָלאָגיע מיט צװאַנציק יאָר צוריק. די ייִדישע אָריגינאַלן פֿון װערטפֿולע היסטאָרישע װערק זײַנען צעזײט און צעשפּרײט איבער אַלטע צײַטשריפֿטן, װאָס לרובֿ זײַנען זײ ניט צוטריטלעך עלעקטראָניש. די אַנטאָלאָגיע אַנטפּלעקט די דאָזיקע רײַכע ירושה פֿאַרן ברײטערן עולם לײענער, און זי װעט זײַן ספּעציעל ניצלעך פֿאַר לערער און סטודענטן פֿון ייִדישער געשיכטע.
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In the course of his 104 years, he resisted the Nazis, fought against blood libel and became a towering Jewish intellectual
Today, in a public ceremony held at Les Invalides, President Emmanuel Morin led the French Fifth Republic in paying its last respects to one of the nation’s great public figures, Edgar Morin, whose 104 years spanned the Third and Fourth Republics as well. He was a sociologist, philosopher, writer, film director and screenwriter. But Morin’s real profession was as an intellectual.
There is a vast literature on the character and career of the French intellectual — much of it written by intellectuals — just as there is much disagreement on when this social type first appeared. Some historians reach back as far as the Enlightenment and the role played by les philosophes like Voltaire in their struggle for political liberty and religious toleration, while other historians argue that the modern intellectual burst onto the scene more than a century later with the Dreyfus Affair.
It was at that pivotal moment in late 19th century France that the word “intellectuel” gained currency. Used as a term of scorn by antisemites like Maurice Barrès, they believed Captain Alfred Dreyfus was guilty of treason precisely because he was Jewish. As for those “intellectuals” who defended Dreyfus, Barrès dismissed them as “aristocrats of thought who boasted they did not think like the vile crowd.” Yet those same intellectuals, led by the novelist Émile Zola, gladly embraced the description. Convinced that objective reason and truth made Dreyfus’ innocence clear, they believed, as Zola famously declared, that “truth is on the march.”
But, as Morin always insisted, truth is complex. So, too, was his career, which in many ways reflects the origin story of the French intellectual. Born as Edgar Nahoum in Paris in 1921, his parents were Jewish immigrants from Salonica, a city that had been home to Greece’s largest Jewish community until World War II. (Nearly 90% of the community, some 54,000 men, women, and children were eventually murdered in Nazi death camps.) A precocious student, Nahoum spent his days in libraries studying German philosophers like Hegel and his nights in cinemas studying French films directed by the likes of Marcel Pagnol.
Yet everything changed, including his name, come France’s defeat and occupation by Nazi Germany in 1940. Making his way to the Unoccupied Zone, the 20-year-old Nahoum, who had been a pacifist before the war, soon joined both the banned Communist Party and the French Resistance. By 1944 and liberation, Nahoum had not only become a lieutenant in the Free French Forces, but due to a typo that turned his combat pseudonym “Manin” into “Morin,” the young man was renamed. In fact, he was remade. “What would we have been without the Resistance?” Morin later wondered. “It was thanks to the Resistance that we were given a life.”
And what a life it turned out to be. In 1951, the rebellious Morin, who was outraged by the Soviet show trials, was invited to leave the French Communist Party. At the same time, though he did not have a graduate degree, Morin was nevertheless invited — thanks to the recommendations of the philosophers Vladimir Jankéklévitch and Maurice Merleau-Ponty — to join the prestigious National Center for Scientific Research in Paris in 1950. It was there that he launched a career that fused his academic interests as a sociologist with journalism.
For the next three quarters of a century, Morin seemed to be everywhere all at once. (When I lived in France, I had the impression that, whether on the shelves of bookstores, pages of newspapers, or sets of television shows, I was always bumping into him.) When he was not being interviewed in documentaries, he was making them; when not publishing one of his more than 40 books, he was reviewing books written by others; when seismic events occurred, he was there before anyone else — and got a book out faster. And the books, the work of an intellectuel engagé, were often themselves events that left their mark on Morin’s contemporary audience and future scholars.
One of the most notable of these is La Rumeur d’Orléans, or Rumor in Orléans. In May, 1969 — just one year after the student rebellions that had swept across France (and about which Morin had already published a book) — a rumor started to sweep across the small city of Orléans, famous for being defended against the English by Joan of Arc in the 15th century. The rumor that took flight in Orléans in 1969 — a variation of the blood libel against Jews — was as old as Joan’s achievement. In the dressing rooms of several local clothing stores, so the rumor went, young women were being drugged and sex trafficked. Moreover, the owners of all these stores were, of course, Israëlites (the frequent moniker for French Jews since the 19th century.)
That there was not a single reported case of a missing, much less abducted, woman had little effect on the crowds that gathered outside these stores. As the crowds grew, along with the fear of the store owners and their staffs, the news media picked up on the event. Politicians and pundits expressed outrage and confusion over the rumor — how could this be possible just a quarter-century after Auschwitz, they asked — and the police began to investigate. They could not find a single culprit.
Within weeks of the news reaching Paris, Morin had collected a half-dozen colleagues and set up shop in Orléans to make sense of the rumor. The team, who described their work as la sociologie événementielle, or “event-based sociology,” interviewed locals, met with officials, and rifled through archival documents. Their conclusion reflected a truth dear to Morin: the complexity of any single event. By complexity, Morin did not mean “complicated,” a word we often use when we refuse to engage a subject. Instead, a complex event spans not only the many factors that made this event possible, but also encompasses the way in which our own theories and thoughts alter our understanding of the event. This complex event, Morin concluded, was partly the work of rapid modernization and the great changes it wrought: urbanization, consumerism, and sexual rebellion. It was as if, one historian remarked, “miniskirts were taking people back to the Middle Ages,” and back to the Jew as the traditional scapegoat for these vast social and economic disruptions.
But only partly. The man who described himself as “Judeo-Gentile” always insisted that events often take not just ordinary folk, but also specialists by surprise. Just as no one predicted France’s defeat in 1940, Morin never thought he had the courage to become a resistance fighter. Yet he did. This is a lesson in humility, of course, but also a lesson in humanity. “Let us make our way in uncertainty,” Morin always insisted, “but also in fraternity.” If only we could make this motto our own.
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