When I took our Nance to church

AKAWhen I took my Nance to church
First Published1878

Writer/composerWH PhillipsRoudRN5271

Music Hall PerformersFred Coyne
Folk performancesCollected from the singing of:
Bennett, Sam; England : Warwickshire; 1929-35
Tyrrell, Mr.; England; 1942
Turner, Jim; England : Gloucestershire 1962
Russell, Dave; England : Gloucestershire; 1979
[From Beadle's half-dime singer's library; no. 11]

When I Took Our Nance to Church!
Published by E. H. Harding, 229 Bowery, N.Y. Music and words, 10 cents.

I'm a jolly squire well known down here, and I hail from Devonshire,
And a happy life with Nance my wife, I live from year to year; 
And as we sit by the fireside and children round us play,
It makes me think of days gone by, and about our wedding day.

The bulls did dance, the cows did prance, the pigs all grunted in the sty,
The dogs did bark, the pretty little lark sung merrily in the sky; 
The cocks did crow to let folks know, the hens all cackl'd on the perch,
And the ducks and drake such a row did make. when I took our Nance to church.

Nance was a farmer's daughter, we met, 'twas on the green
She was dancing round the May-pole and call'd the Village Queen; 
She consented I might see her home, as I took her pretty arm, 
And made love to her all the way until I reach'd the farm. 

I remember one fine moonlight night as we stood by the old farm gate,
I kiss'd our Nance's rosy cheek and said, "I'll know my fate;" 
I met the farmer going home and told him what I meant,
He said, " Well, squire, with all my heart, to your marriage I'll consent." 

The pretty birds did gayly sing, 'twas on a summer's day,
And the wedding-bells did merrily ring as to church we both did stray,
The lads and lasses round the church they quickly did advance, 
And wished long life and happiness to me and to our Nance.  

A song written by Manchester-born songwriter WH Phillips, a hit for Fred Coyne in the late 1870s. It has been collected from several English traditional singers in the 20th century.

It was a popular song for amateur singers in the late 19th century and there are multiple reports in newspapers and memoirs of it being sung at smoking concerts and the like. It does not appear to have been widely pirated in cheap street literature on this side of the Atlantic and I can’t find any instances of it in any British broadsheets, though it was published in America in Beadle’s Half-Dime Singers Library.

A modern performance by the wonderful Gwilym Davies, originator of the excellent Glostrad site

Sources:

Katie Connor

AKASweet Katie Connor
First Published1890

Writer/composerHarry DacreRoudRN37299

Music Hall PerformersPat Rafferty
Folk performancesCollected from the singing of:
Alice Kane recalled singing this song as a child in Ulster in the early 20th century
On my honour, Katie Connor is the nicest girl you’ll meet
I dote on her, I’m a goner, she’s just nice enough to eat
Near the water, I first caught her in a little fishing town
But just lately she’s turned stately, and my brain’s turned upside down

Sweet Katie Connor, I dote upon her
Kate, Kate, as sure as fate, you’ll have to marry me
Or else I have a notion, of diving in the ocean
And mashing all the mermaids at the bottom of the sea.

When she’s colder, I have told her how the mermaids long for me
How they’ve blessed me and caressed me when I’ve bathed in open sea
She cries “Oh dear, you can go dear, to your mermaids straight away”
Snaps her fingers, yet she lingers long enough to hear me say.

Sweet Katie Connor, I dote upon her
Kate, Kate, as sure as fate, you’ll have to marry me
Or else I have a notion, of diving in the ocean
And mashing all the mermaids at the bottom of the sea.

Then we parted, then I started for the mighty ocean’s brink
Kate looked squeamy, she could see me take a brick to make me sink
Near the water, she bethought her “Jack“ she cried; said I “Too late”
“Jack, my jewel, don’t be cruel; come back, Jack, and marry Kate!”

Sweet Katie Connor, I dote upon her
Kate, Kate, as sure as fate, is going to marry me
So now I have no notion, of diving in the ocean
Or mashing scaly mermaids at the bottom of the sea.

A song written by Harry Dacre who is perhaps best remembered today for the song Daisy Bell (A bicycle built for two). Dacre was in fact a relatively prolific songwriter and this was a big hit for  Pat Rafferty the British halls of the 1890s. It was advertised as a “successor” to Little Annie Rooney, another Irish flavoured love song which was a hit in 1889. It was commonplace for a song associated with an individual artist in the Halls to be licensed separately for pantomime singing, often with the stipulation that it was only allowed to be sung in one production in a given town, as seen in the advert below:

dacres katieconnor -
The Era 08 Nov 1890, Sat  •  Page 6

Sources:

Ghost of Benjamin Binns, The

AKABenjamin Binns
Benjamin Bing
First Published1885

Writer/composerHarry DacreRoudRN24443

Music Hall PerformersHarrry Randall
Folk performancesCollected from the singing of:
Bregenzer, George; England : Worcestershire; 1986
Keep your seats, if you please, and don't be afraid
I'm only a ghost, a poor harmless shade
I would not hurt anyone here if I could
And you couldn't do me much harm if you would
Knives will not stab me, and shots through me fly
But oh the experiment, please do not try
It's not for myself that I care, not at all
I'm only afraid you might damage the wall.

I'm the ghost of John James Christopher Benjamin Binns
I was cut right down in the midst of my sins
For my home is down below. I'm let out for an hour or so
When the cock begins to crow. Farewell Benjamin Binns.

When I lived on this earth, my wife often said
If I should die first, she'd never get wed
Tonight I called on her, through the keyhole I crept
If ghosts could have tears, I'm sure I'd have wept
A man held my wife in his tender embrace
She called him her hubby, he'd taken my place
To make matters worse, and to crown all my woes
The fellow was wearing my best Sunday clothes.

I'll try to forget my false-hearted wife
And give you a plan of my present life
I get good engagements, with cash in advance
Attending the spiritualist's midnight séance
I rap on the tables and kick up such scenes
I ring clanging bells and I bang tambourines
If Maskelyne says 'Ghosts are bosh' he is wrong
For if he comes near me, he'll smell spirits quite strong.

A song written by Harry Dacre famous for Daisy Bell (A bicycle built for two). The ghost of Benjamin Binns was first sung in 1884, with sheet music published in 1885. It was a big hit in the Halls for Harry Randall (his brief biography is below) and was widely sung in the pantomimes of 1885/6. The song was a huge international hit, often associated with black-face minstrel shows.

It was famously revived by Clive Dunn at Players Theatre in the 1950s.

In 1986 a snatch of it was collected by Roy Palmer from the singing of George Bregenzer – it can be heard at the British Library Sound Archive

The Era – Saturday 18 October 1884

Harry Randall (1860-1932) was a comedian and songwriter active between the 1880s and 1900s, famous for his annual pantomime appearances. He was born in Holborn, London and made his debut at age 11 in a Drury Lane pantomime. For a number of years he worked as a stone engraver, appearing part-time on stage, until his Music Hall work became so lucrative that he felt forced to give up the day job. Early on he specialised in topical songs and skits – in 1888 a his Who killed Cock Warren satirised Metropolitan Police Commissioner Charles Warren for his failure to catch Jack the Ripper- but his first great international hit was The Ghost of Benjamin Binns. He founded The Music Hall Artists Railway Association which campaigned for reduced railway fares for music hall performers who were forced to travel widely across the country at their own expense. Ill-health described by contemporary sources as “nerve trouble” forced him to stop performing in 1913.

AS recorded by Dan Quinn in 1903:

Sources:

I’ll be your sweetheart

AKABluebells I’ve gathered
First Published1899

Writer/composerHarry DacreRoudRN13465

Music Hall PerformersLil Hawthorne
Folk performancesCollected from the singing of:
Jarvis, Walter; England : Essex ; 1964/5
Mills, Billy; England : Yorkshire; 1970
Poacher, Cyril; England : Suffolk; 1975
Ellaway, Arthur; England : Gloucestershire; 1977
Johnson, John; England : Sussex; no date
One day I saw two lovers in a garden
A little lad and lass with golden hair
They looked as sweet as honey in a beehive
And so I stood and watched the youthful pair
The lad, all blushing, gave the maid a kiss
Then tenderly he whispered this,

I'll be you sweetheart, if you will be mine
All my life, I'll be your Valentine
Bluebells I've gathered, keep them and be true
When I'm a man my plan will be to marry you.

The bluebells were accepted by the maiden
She said, “I'll keep them safely all my life
But then suppose you meet some other lady
And I should never be your darling wife?”
He shook his head and took another kiss
Then once again he whispered this,

The years flew by and once again I saw them
They stood before the alter hand in hand
A handsome pair I never shall forget them
The happiest young couple in the land
Then once again he took the loving kiss
Then passionately whispered this,

At the turn of the century Harry Dacre followed the hugely popular Daisy Bell (A bicycle built for two) with this song – which had similar success throughout the English speaking world. In the British Halls it was most often associated with Lil Hawthorne.

This sentimental song, set to a memorable lilting waltz, was collected from a number of traditional singers in the 2nd half of the 20th century and is still widely sung today. It became a common feature in the repertoire of barbershop singers.

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Is your mother in, Molly Malone?

AKAMollie Malone
Is your mother home, Molly Malone?
First Published1903

Writer/composerA J Mills and George EverardRoudRN24226

Music Hall Performers Walter Munroe
Folk performancesCollected from the singing of:
Metcalfe, Ruth; Canada : Nova Scotia ; 1957
Costello, Cecilia; England : Warwickshire;1967
Walmsley, Molly; England : Lancashire; 1969
Young Michael McGee loved Miss Molly Malone,
And longed for the time when he'd call her his own;
All sorts of excuses to see her he'd make,
As he hung 'round the house every day.
One evening he tapped at the door - and his love
Sweet Molly looked out from the window above,
Said she, "Go away! Sure in trouble I'll get!"
But he answered, "I'll not go away!"

"Is your mother in, Molly Malone?"
Molly sighed, "She's out!"
"Is your father in, Molly Malone?"
Molly cried, "He's out!"
"Then can I come in by the fireside,
And sit there along with you?"
But she said with a smile, "Oh you'll wait for a while,
For the fire's out, too!"

When an Irishman worships a pair of bright eyes,
To get at them, sure, he'll tell all sorts of lies!
"A faint heart it never won fair lady yet,"
And that old saying young Michael knew.
So he stood there and argued for quite a long while,
And Molly said, "Please go away with your guile!"
"Och! Why do you worry me so?" he replied,
"It's your mother I'm wantin', not you!"

Young Michael looked up, as he scratched his 'old poll,' 
And said, "Troth I'm in trouble, I am, 'pon my soul!
If your parents are out now, and I can't come in,
By the piper, sure, I'm out as well!
For I've recently purchased a neat golden ring,
For your left hand's third finger it's just the right thing!"
Said Molly, "Sure, tho' they're all out, I'm at home —
So you needn't stand down there and yell —

A song by the prolific lyricist AJ Mills with music composed by George Everard – a big hit throughout the English-speaking world in the 1900s. On the British Music Hall stage it was most associated with the comedian Walter Munroe. Not to be confused with the many other songs featuring the stage-Irish character “Molly Malone”, eg Cockles and Mussels.

A slightly truncated version recorded by Billy Murray in 1906, the video features an example of the postcards that were commonly used to publicise songs in the UK in the 20th century:

Sources:

It’s lovely to be in love

AKAIt’s s’luvly to be in love.
I’m in love
First Published1915

Writer/composerClifford Harris / James. W. TateRoudRN34989

Music Hall PerformersClarice Mayne, Jay Laurier
Folk performancesCollected from the singing of:
Edwards, Mrs Mary (Molly); Ireland: County Kerry; 1982
I'm feeling so funny, all over the same
I'm in love, I'm in love
It's all through a boy, and I don't know his name
I'm in love, I'm in love
I looked at him mushy like, that let him loose
The he said to me, 'I do like you'
I giggled and then I said, You are a goose.'
He said, 'Yes, and I feel goosey too.'

I'm in love, I'm in love
You can tell by the look in my eye
I'm in love, I'm in love
Oh it's nice to be kissed on the sly
Don't know why, I feel fine
It's divine when you stroll with the moon up above
Oh, It's lovely to tease, and It's lovely to squeeze
Oh, It's lovely to be in love.

We went for a walk and I said to myself
I'm in love, I'm in love
So now I don't want to be left on the shelf
I'm in love, I'm in love
We came to a stile and we sat on the top
Then I smiled and he smiled me a smile
He kissed me and something inside me went pop
I kissed him and fell off the stile.

A song associated with two singers in the early 20th century, Halls: Clarice Mayne and Jay Laurier. Clarice was licensed to sing the song in the Music Halls while Laurier sang it in pantomime. The sheet music contains both versions including the lengthy patter that Laurier used in his version. Both were recorded on vinyl and you can hear them in the YouTube clips below. It’s likely that the song was originally written for Claris Mayne, the music was composed by her husband and accompanist James W Tate

In 1982 it was collected from Irish traditional singer Mrs Mary Edwards – you can hear her singing a short extract on the Muckross House website

Mr . Jay Laurier , in the character of Simple  Simon, discharges with apparent ease and decided success his heavy responsibilities as chief comedian. His quaint and original manner of rendering of the popular ditties It’s lovely to be in love and I saw six short soldiers his wonderful facial expressions and ever-resourceful by-plays and gags, keep the audience in the merriest of veins beginning from to end .

[Review of Jack Horner pantomime at The Marlborough] The Stage – Thursday 13 January 1916

Sources:

I’m 94 this mornin’

AKAI’m 94 today
First Published1922

Writer/composerWill FyffeRoudRNtbc

Music Hall PerformersWill Fyffe
Folk performancesCollected from the singing of:
Philips, Cyril; England : Sussex; 1966
It's nice to sit down when you're nintey-four, 
Down by the kitchen fire,
And think o' the times you used to have, 
And the girls that you admire.
But a farmer's life's a healthy life, 
I feel as good as new,
And I'll bet a bob you'll be surpris'd 
at what I'll tell to you.

 
I'm ninety-four this mornin', 
Aye, I'm ninety-four today.
I'm not so young as I used to be, 
I'm gettin' old and grey.
But my heart is young, and I'm fond of fun, 
And I'm very proud to say
That I'm gettin' married on Thursday 
Tho' I'm ninety-four today.

Of course down in the village 
It will be a big surprise,
The people think it's all a joke, 
That the minister's telling lies.
Oh! But we will get the laugh at them, 
As sure as I'm alive,
For there'll maybe be a christ'ning yet 
Before I'm ninety-five.

[SPOKEN]
Aye, ninety-four this mornin' at twenty-six minutes past four. Aye, and I'm feeling as well and as fit as ever I was in all my days. And I'm gettin' married again. You know there's a lot of people surprised at me gettin' married again, and goin' in for this "Blue Lagoon" business at my time of life. 

But I don't see anything to laugh at. A farmer's life's a very healthy life, you know. I consider that a man that's lived on a farm all his life, he's as good a man at ninety as a man that's lived in the city at forty. There's not much temptation in a wee sleepy village like this, you know. And mind ye, I'm expecting a lot of presents, cos I'm well connected; aye, and well respected too. I'm a town-councillor in this place here, and altho' I say it mysel', this is a very progressive place, very progressive. We're thinking of doing away with candles, and using paraffin oil before long. There's only one thing that's troubling me about gettin' married again- it's the bairns. Oh, I've been married before, you know! I've been married before, and I've got three boys. Aye, and fine lads too. Let me see now, there's the oldest one,that's Donal' he'll be, what?- seventy-two, aye, seventy-two. Oh, but a very steady lad, tho', a steady lad.

Then the next one,- that's Peter. He's sixty-four. He's turning out a bit of a knut. He didn't come home till half-past-nine last night. He's beginning to flutter his wings a wee bit, I'm thinking. Then there's the bairn. That's little Alec - wee Eck. He's fifty. Oh, he's a terrible lad, an awful comic! He'll not work, you know. No, no; nothing but play. I saw him down the road just now, on his scooter. He's a terrible boy. I don't think I'll ever be able to rear that lad somehow. 

Mind ye, I had no intention of gettin' married again. No, I thought I'd have ended my days in peace. It was just through a conversation I overheard between my three lads that decided me to du what I'm goin' to do. I was passing by the kitchen about a month ago when I heard them speaking about me. They were discussin' when I was goin' to hop it. I heard the oldest  one say, "Boys, the old chap's gettin' very frail!" Then they started to divide up all my property before I was dead.

Ah, ah.said I, if that's your gamy, I'll spoil your plans for you. So that's what I'm goin' to do. I'm goin' to get married. So, don't run away with the idea that it's a case of love, as far s I'm concerned. It's not love... spite!
   



I'm ninety-four this mornin', 
Aye, I'm ninety-four today.
I'm not so young as I used to be, 
I'm gettin' old and grey.
But my heart is young, and I'm fond of fun, 
And I'm very proud to say
That I'm gettin' married on Thursday 
Tho' I'm ninety-four today.

I’m 94 today was written and performed by Will Fyffe (1885- 1947), the man who wrote I belong to Glasgow. Fyffe was the son of the ship’s carpenter: in his early career he was a versatile actor, but later concentrated on character comedy, appearing in the Halls and various films.

This comic song was collected 44 years after its first success from the singing of Cyril Phillips – it’s available as part of the Reg Hall Collection in the British library Sound archive

Jimmy Perry introduces Will Fyffe:

Sources:

I wonder if you miss me sometimes (I wonder if you care)

First Published1910

Writer/composerAJ Mills / Bennett ScottRoudRN22761

Music Hall PerformersLily Morris, Ella Retford
Folk performancesCollected from the singing of:
Harkie Nesling; England : Suffolk; 1971
Pardon, Walter; England : Norfolk; 1980
I stand on a lonely seashore, 
And gaze o'er the waters blue
I picture a land of sunshine, 
And dream all the time of you
The waves of the ocean divide us, 
But still in my heart you reign;
I'd give all I have in the world love, 
To see your dear face once again.

I wonder if you miss me sometimes
Miss me when the twilight's nigh
I wonder, love, do you remember
Days gone by
I wonder if you know I'm pining
Pining for you in despair
I wonder if you know my heart is breaking
And I wonder if you care.


[Additional Verse found on Bamforth Song Card (3)]

Although from my life you've drifted, 
Your dear eyes they haunt me still; 
Again I may never see you, 
But memory my heart will spill. 
When you're caressed by another, 
The love in your eyes will gleam; 
Oh! Would I wake from my sadness,
And find it was all just a dream

 

A sentimental song by the prolific songwriting team Arthur J Mills and Bennett Scott who set up their own publishers: The Star Music Company.

I wonder was widely performed in the English-speaking world and was recorded several times. In the British Halls it featured most famously in the repertoire of Lily Morris and Ella Retford . The original sheet music featured only a single verse and chorus, the song card (see below) and later recordings include a second verse.

It appears to have been a hit in the war years, a time when sentimental songs were particularly popular. It was remembered by two traditional singers late in the 20th century: Walter Pardon (collected by Mike Yates) and Harkie Nesling (collected by Keith Summers)

Between around 1900 and 1920 song postcards were in their heyday – often featuring sentimental songs like this one usually aimed at servicemen and their loved ones at home. Bamforth published two versions of the song cards for this song – one featuring a soldier sitting in his tent and these featuring his sweetheart at home:

A contemporary recording by Frank Miller:

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I’ve got something to be thankful for

AKA
First Published1901

Writer/composerJune W. Barnes / Harry Leighton RoudRN21941

Music Hall PerformersDan Crawley
Folk performancesCollected from the singing of:
Bromley, Albert; England : Suffolk; 1964/65
From monologues.co.uk

Out of evil cometh good, is a saying old and true
To lose all yer lovely curly hair is an evil thing to do
When I got married, a fine head of hair like mine could not be found
Through getting water on the brain it all fell in and drowned

But I don't care, for don't you see
My old 'gooseberry' can't hurt me
I've got no hair to pull out, Oh Lor!
So I've got something to be thankful for.

Once I bought a bicycle, and the darned thing nearly killed me
I used to practise in our back yard, till I rode it properly
The first time I rode in the street, I tried to dodge a tyke
Ran into some old woman's back and smashed my lovely bike.

But I don't care, for don't you see
My wife's mother was in front of me
She fell down and broke her jaw
So I've got something to be thankful for.

My old woman, s'elp me bob, is a most neglectful spouse
She won't do a thing for me since we've had a lodger in the house
There are my socks without any feet, and at home I have to stay
While she goes out with Mr Plugs, our lodger, every day.

But I don't care, for don't you see
When she's out I go in for tea
And have such a lark with the girl next door
So I've got something to be thankful for.

Years ago, when I was mad, I went fairly off my chump
In love with a girl, and ev'ry time I met her, my heart went bump
After the banns were up, and I'd bought a 'tanner' wedding ring
She did a 'guy' with my best man, the false deceitful thing.

But I don't care, for don't you see
There's six twins now in the family
And every year there's a couple more
So I've got something to be thankful for.
 

Another early 20th century song from the Halls (reflecting attitudes commonplace at the time) remembered by traditional singers in the late 20th century, originally performed by Dan Crawley.

In the 1960s it was collected by Neil Lanham from the singing of Albert Bromley, one of a generation of great pub singers active in and around Suffolk in the 1950s and 60s. You can hear it on the Helions Bumpstead CD, (NLCD8 ‘Comic Songs of the Stour Valley‘).

Sources:

Has anybody seen our cat?

AKAKitty Cat
Has anybody seen my Kitty
First Published1899

Writer/composerTW Connor RoudRNRN15708

Music Hall PerformersGeorge Beauchamp
Folk performancesCollected from the singing of:
Pardon, Walter; England : Norfolk; 1987
As sung by George Beauchamp

I'm upset now; let me tell you why,
Our old tom cat has been and done a guy (run away)
My old gal declares that it's a sign
Somebody's number's up and two to one it's mine
I've been wondering why I am to blame
For sneaking the bacon and the brawn
And the young man lodger's two-eyed steaks (bloater)
When they're missing on a Sunday morn.

Has anybody seen our cat?
Has anybody seen our cat?
He's got a bit of black on the end of his tail
And the skin's all off where he's been fighting
Last Sunday morning we missed him from the mat
Puss! Puss! Puss! Meat! Meat! Meat!
Has anybody seen our cat?

How we loved that cat nobody knows
Put butter on his feet and pepper on his nose
When he caught cold gave myself a job
When the toothache troubled him so bad
And I found little Tommy couldn't eat
I tied up his face, put baccy in his ear
And got another cat to chew his meat.

I never thought he'd leave his happy home
Though after the gals he often used to roam
I've sent tripe hounds out upon his track
I'm doing everything to try and get him back
Got two cods heads stuck up on a pole
And nailed up a kipper on the door
And written underneath it ‘Welcome home'
And a promise not to kick him any more.

A song from the Halls of 1899 which crossed the Atlantic and was adapted by early country music pioneers.

English traditional singer Walter Pardon sang a fragment of this song for Jim Carroll and Pat Mackenzie in 1987, though its not clear whether his version was derived from the British or American sources. The original British song was written and composed by TW Connor in 1899 for  George Beauchamp – probably as a sequel to an earlier successful song Puss, Puss Puss (1897). According to a contemporary advert, the 1899 song was also sung in productions of the pantomime Dick Whittington:

[A song] to suit any comedian, whether playing Dame, Baron, or any comedy part in any pantomime – but especially adapted for Whittington … one of T. W. Connor’s Masterpieces.

Ad for Mr George Beauchamp, The Era, 21 Oct 1899, p31

It crossed the Atlantic in 1901 when American comic James T Powers wrote additional verses and incorporated it in his hit Broadway Musical The Messenger Boy.

The Broadway show may have provided the spark which led to an American song usually called Anybody seen my Kitty (RN 15708) collected several times in the USA. It first seems to appear in the late 1930s, credited to Asher Sizemore and sung by child radio star Little Jimmie. The song varies slightly, but the chorus from Prairie Home Companion Folk Song Book is fairly typical:

Anybody seen my kitty?
Anybody seen my cat? 
She's got a crook at the end of her tale 
To show that she's been fighting. 
Down in Dugan's alley 
Up in Finnegan's flat 
Kitty Kitty Kitty Kitty Kitty Kitty Kitty Kitty 
Anybody seen my cat?

This chorus seems to be directly derived from the original Music Hall/Broadway song by TW Connor, though where the song is sung with verses these are different from those written by Connor or Powers. The American song later featured in the repertoire of country music pioneer Tex Ritter.

Neither of the above should be confused with the 1922 song Has anybody seen my kitty? by HP Porter which nonetheless has certain similarities! ..

Burt Sheppard sings the original TW Connor song:

Little Jimmie sings the later US version which adopted/adapted the Music Hall chorus:

Tex Ritter sings a further adaption of Little Jimmie’s song:

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