Casca: The Conqueror, Tony Roberts

Casca: The Conqueror, Tony Roberts

Casca: The Conqueror, Tony Roberts

Casca: The Conqueror, Tony Roberts

The Eternal Mercenary #31

This is the 31st entry in the Casca series, and it is thus something of a surprise to find that the Norman Conquest has not been covered before. The plot starts in the ruins of Casca's farm in France, and follows him to Caen where he joins William the Conqueror's army, across the channel to Hastings then on to the Norman advance to London, before finishing in the early days of Norman rule.

Casca novels tend to fall into two categories - those that are dominated by plot and those that are dominated by the historical backdrop. This entry in the series falls into the first category. That isn't to say that the events of 1066 don't play a major role in the novel, and there are some very nice touches - I liked the emphasis on the language barrier between the Saxons and their new French masters.

This is one of the better entries in the series, well written, with a coherent well focused plot, proper hissable villains and a good use of the historical background.

The book is also available from the Casca Website

Author: Tony Roberts
Edition: Paperback
Pages: 157
Publisher: Americana Books
Year: 2010
The book is also available from the Casca Website


Casca. Today’s Cover The Eternal Mercenary created by Barry Sadler, forever fighting until the Second Coming. This website is dedicated to the history. The Eternal Mercenary (Casca, No. 1) [Barry Sadler] on *FREE* shipping on qualifying offers. book. Casca: The Eternal Mercenary [Barry Sadler] on *FREE* shipping on qualifying offers. From the moment Casca ran his spear through the torso of.

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Sadler based this book on actual events that occurred in the Pacific theater during World War Two.

The Eternal Mercenary (Casca, #1) by Barry Sadler

Two days before, when he had been permitted to go out on the town, he had cornered a young blonde prostitute of no more than fourteen years… He felt a shiver of pleasure run over him as he relived the moment when after he had taken his pleasure of her and she lay at his feet whimpering and bleeding she had looked up through tear-streaked eyes and asked for the denarius he had promised.

I’m okay with origin stories. Casca would have his hands full with her. This book begins inat the 8th Field hospital in Nha Trang, Vietnam.

However, what he deems the end of his life is only the beginning. I had bought this back when I was in high school but never had time to sit down and read back then. He escapes after a long imprisonment and sails for South America with the expedition led by Hernando Cortes.

A fair price for a suicide mission.

Casca is a series of paperback novels, created and written by author Barry Sadler in Nice tight unread copy with very little cover wear. He made sacrifice to his gods, those terrible beings of the night and the jungle. The Eternal Mercenary 1. He establishes friendships and romances that can never last, and the characters he meets in each book will likely never return in a later story.

The Conqueror by Tony Roberts. His skull is torn open, and brain is exposed, with a shard of shrapnel lodged within. A victim of his immortal curse, Casca still lives… More.

Travels Through Time #8 – Andrew Roberts, 1940

This episode takes us back to the tense and dramatic days of 8-10 May 1940. Chamberlain suffers humiliation in the House of Commons and Churchill becomes prime minister.

In 72 hours in the middle of May 1940, Britain’s political leadership was transformed. Out went the undistinguished, dithering government led by Neville Chamberlain, known for its failed policy of appeasement. It was replaced by a new regime of ‘growling defiance’, headed by the pugnacious and polarising Winston Churchill.

This political change coincided with the Nazi ‘blitzkrieg’ invasion of western Europe. In this latest episode of Travels Through Time, the historian and biographer Andrew Roberts takes us back to the tense and dramatic days of 8-10 May 1940. We watch as Chamberlain suffers the humiliation of the Norway Debate in the House of Commons, clinging to power at 10 Downing Street. Then, on 10 May, Churchill is summoned to meet George VI. It was a moment, Roberts argues, that Churchill had foreseen as his destiny many decades before.

Travels Through Time. Tailored tours of the past.
Travels Through Time is presented by bestselling historian, Peter Moore. In each episode we are joined by an expert guest, to journey to the time and place of their choice. Enjoy a ringside view of history as never before, with the action described by those who understand it best. Browse other episodes in this series here.

How to listen
You can listen to Travels Through Time here on our site in the player above, or on iTunes, Spotify, Podbean and Acast. There is also an RSS feed.

Further reading: related articles from the History Today archive

Churchill: Cometh the Finest Hour
Taylor Downing
In May 1940, Winston Churchill replaced Neville Chamberlain as prime minister. But the great war leader’s rise to power was far from inevitable. Taylor Downing explains what a difference a day made.

Churchill as Chronicler: The Narvik Episode 1940
Piers Mackesy
In his actions and writings, Churchill made General Mackesy the scapegoat for the allied failure to recapture Norway in 1940. Was this a fair assessment? And why did Churchill pursue the cause with such bitterness? Mackesy's son explains.

Why Chamberlain Really Fell
Tony Corfield
Tony Corfield offers a provocative new interpretation of the events that brought Churchill to power in the spring of 1940.

Frontier Justice : A History of the Gulf Country to 1900

"Frontier Justice is a very powerful and important book. It appears at a particularly significant time given the intense current debate about Aboriginal history. It is essential reading for anyone with an interest in the story of the Australian frontier."
Professor Henry Reynolds

A challenging and illuminating history, Frontier Justice brings a fresh perspective to the Northern Territory's remarkable frontier era. For the newcomer, the Gulf country--from the Queensland border to the overland telegraph line, and from the Barkly Tableland to the Roper River--was a harsh and in places impassable wilderness. To explorers like Leichhardt, it promised discovery, and to bold adventurers like the overlanders and pastoralists, a new start. For prospectors in their hundreds, it was a gateway to the riches of the Kimberley goldfields. To the 2,500 Aboriginal inhabitants, it was their physical and spiritual home. From the 1870s, with the opening of the Coast Track, cattlemen eager to lay claim to vast tracts of station land brought cattle in massive numbers and destruction to precious lagoons and fragile terrain. Black and white conflict escalated into unfettered violence and retaliation that would extend into the next century, displacing, and in some areas destroying, the original inhabitants.
The vivid characters who people this meticulously researched and compelling history are indelibly etched from diaries and letters, archival records and eyewitness accounts. Included are maps with original place names, and previously unpublished photographs and illustrations.

"A commanding study of race relations in the remote Gulf country. Tony Roberts uncovers compelling evidence of a litany of violence across some forty-odd years of rough borderlands dispossession in an encompassing, powerful and disturbing history."
Professor Raymond Evans

Casca Books In Order

Born in Carlsbad New Mexico, SGT. Barry Allen Sadler is the second son of Bebe Littlefield and John Sadler. Apart from being a military veteran, Barry Sadler is also a widely known actor, author, singer, and songwriter. During his military years, Barry served in the American army as a Green Beret medic during the war in Vietnam. While working in the army as a medic, Barry’s efforts were eventually recognized, and he was promoted to a sergeant. As a writer who used to serve in the army, there is a recurring military theme in most of his works hence in every book that he has written Barry accredits himself as the SSG Barry Sadler. According to Barry’s Biography, I’m the luck one, Barry describes his father as a successful businessman who used to run plumbing and electrical business in their hometown. On the other hand, Barry describes his mother as a successful entrepreneur who used to manage several bars and restaurant in their hometown.

As Barry Sadler was growing up, his family began to move from town to town every now and then. Barry’s mother and father eventually divorced, and a few years later Barry’s father died after battling with a rare form of cancer that attacked his nervous system. At the tenth grade, Barry dropped from high school and decided to hitchhike across the country. A year after hitchhiking, Barry decided to join the United States Air Force. While in the Air force, Barry Sadler was trained as a radar technician. After completing his training, he was posted in Japan. Later on Sadler volunteered for the United States Special Forces where he began training as a combat medic. Once he completed his training, he was posted to Vietnam as a combat medic. While in Vietnam, Barry stepped on a punji stick and was severely wounded in the knee.

Since he had been taking antibiotics for Dysentery, there were no ill effects from the Punji stick but as time went by, Barry developed an infection on the Wounded Knee hence he was quickly flown to the Walter Reed hospital in the US. After an exhaustive examination of the knee, the doctors at the Walter Reed hospital decided to conduct surgery on the knee so as to drain out the fluids and also administer penicillin. After he had completely recovered, Sadler decided to finish a song that he had been writing, The Ballad of the Green Berets, which became a huge success worldwide. For five consecutive weeks, the Ballad of the Green Berets was number one on the Billboard top 100 songs and sold slightly over a million records. In the year 1966, Sadler decided to write novels since it became a little bit difficult for him to write another major hit. All in all, Sadler is widely known for the Casca series which like his first song also became a major hit.

The eternal Mercenary is the first installment in the Casca series and is a modern blend of two primeval legends. The roman Centurion Longinus is the first legend in the Casca series and was supposedly present at Jesus’s crucifixion. As Jesus was being crucified, Longinus stabbed Jesus with a spear so as to end his agony. The second legend in Eternal Mercenary is that of the wandering Jew, who was cursed by Jesus to wander across the world until Jesus second coming. Jesus placed this curse on the Jew because he had made an insulting or a derogatory remark as he was being taken to be crucified. The wandering jew and the roman centurion have all been cursed until the second coming of Jesus Christ. All in all, this installment is full of adventure and takes the protagonist from one war to another. In every case, the protagonist endures different types of injuries and wounds.

While recuperating, the main protagonist gets healed miraculously by a rather strange and miraculous power which in turn makes his blood poisonous to other creatures and beings. As time goes by his own existence becomes a nuisance hence he ends up being an object of hatred and spite. He leads a lonely life without any friends or company. Furthermore, everything that he desires eludes him including death which he believes will be a solution to his problems and an end to his misery. Instead of being a hero, he becomes more of a victim a victim of fate in a situation that he can do nothing about.

As the second installment of the Casca series, the God of Death continues the story of the main protagonist Casca, who had been cursed by Jesus to wander across the world. In this installment, Casca sails to a new world on a Viking dragon ship. While in the new world, Casca’s heart is ceremoniously removed at the top of the Aztec pyramid. After his heart has been removed, he stands up and reinserts his heart back to its original place while other people are watching. After seing Casca reinsert his heart back to its original place, he is instantaneously deified as the God of Death. Despite being the second installment, the God of Death is not entirely in chronological order hence you must have read the first book to make the connections in the second book.

Tony Roberts Books In Order

Tony Roberts is a British author of fantasy books popularly known for his Katie Long & Siren, Chronicles of Kastania, and Chronicles of Faerowyn series.

Siren is the first book in Katie Long & Siren series. In this first book, we meet Katie Long, a woman from a musical family. Her dad was a guitarist in the 60s working with a covers band, and her mother was a singer. Katie’s brother was a guitarist, it was like a talent to him, and Katie looked upon him wishing that she could be as good as he was. She would practice in her room, write songs, and expand her repertoire for she inherited her mother’s voice and her father’s gift with the guitar.

But her deep desire for music was a way to shield against her introverted manner and shyness, and a series of allergies she suffered from. All these problems made her feel alone and friendless. Even worse, she was also bullied at school, and this made her more withdrawn from other students at the school. She confided into her personal world of music and wished and dreamed that one day she’d become a rock star- but this seemed to be an impossible dream.
Then a series of unconnected incidents on her 15th birthday sparked a series of events that put Katie on the path of becoming a rock star she always wanted. But if she was to achieve her dream, she would have to overcome her bullies, her shyness and prejudice, all which would test her sheer determination to the fullest.

Empire of Avarice is the first book in Chronicles of Kastania series. The Kastanian Kingdom had stood firm for a thousand years but a decade of a ruling by corrupt leaders and a civil war has reduced this once Might Empire into its former self. Plagued by adversaries beyond the empire borders and competing divisions within, it seems the end is near for Kastanian.

But one man within the borders believes that this might city can be saved. Astiras Koros, the general of a province afflicted with rebellion, gains power and in so doing he propels his family to the throne. He will have to display his courage and strength if he is to keep his dreams of better Kastania alive. To succeed he will have to the uprising in Bragal province and purge all the opposition from the ruling elites. But this will not be an easy task for him, because many of his adversaries are prominent people and some are very close to the empire itself.

He will also be forced to send his only daughter and his eldest son to dangerous mission assignments that will test the two to their limits as well avoid killers on their trails. Astiras’ wife Isbel is left to cope alone with the creation of a new court in the face of opposition’s interest while her husband campaigns for a better future for Kastanian Empire. The younger son, Argan finds himself entangled into the strange world at the loyal court, and he has to try and adapt into his new environment with dangers that holds.

The Bragalese rebellion may have ended, and Zofela fell, but this doesn’t signal the end of the fight for the Koros to bring Kastania to its former glory. The Duras have “mutated” their revolt standards in Makenia and interfered with the food supplies to Turslenka city. Astiras will be forced to gather a new army to counter this new threat.

On the other hand, Isbel has her problems too. There is a growing antipathy between her two children, Argan and Istan, and increases every day. Amne has found a new confidence that threatens to interfere with the empress’s schemes for a settle image to present the population. In addition, there is also a nasty discovery that Argan’s injuries from the fall could be more serious than they first thought, and his life could as well be threatened.

For Prince Jorqel the problems are serious indeed. His darling Sannia is in the hands of Lombert who along with the Duras family, have devised a scheme to turn the Niake population into drug zombies. He has to pick the right moment to challenge Lombert’s new army to battle and rescue his beloved Sannia before the rebels end her life.

The Casca is a series of paperback novels written by Barry Sadler in 1979. The books revolve around the life of a Roman soldier, Casca Rufio who was cursed by Jesus on Golgotha for stabbing him with a spear. For this reason, he was cursed to wander across the Earth always as a soldier.

Barry Saddler wrote the first 22 novels prior to his death in 1989. Tony Roberts has contributed to this series and went only to publish more than 15 sequels after Barry’s death.

The Eternal Mercenary is the first book in the series. The story opens up at a field hospital in Nha Trang in Vietnam. The hospital receives wounded soldiers. The doctor examines Casey Romain, one of the wounded soldiers who has a head shrapnel wound. He knows the wound is not survivable, but he’s shocked to find out that Romain isn’t dead despite the massive head trauma and shocking enough the wound heals before his own eyes.
Upon further investigation of Romain, Casca Romain becomes a unique medical curiosity for the doctors.

But the story of Romain can be traced back to the days when Jesus walked the Earth. After being crucified, Jesus cursed the man who pierced him with a spear. The man was no other than Casca Romain. He underwent a physical transformation and became mortal, could no longer die, age, get sick, and his body would heal whenever injured. Hence Casca must wait for Christ’s return and remains alive to this day never having peace. The doctor at the hospital embarks and Casca embark on a journey together through the years. The series debut novel covers Casca’s life 130 years after the crucifixion.

Build a better way

Led by Chief Executive Officer Alison Mirams, Roberts Co delivers unsurpassed local knowledge, a highly experienced team and a commitment to innovation.

The Roberts Co company ethos is built on trust, integrity and working as a client partner to deliver successful projects. Roberts Co is currently only Sydney based and employ 140 employees, working on six projects with a total workbook of over $1B.

History Versus Her Story

In the opening scene of Mona Lisa Smile, idealistic California transplant Katherine Watson, played by Julia Roberts, is traveling to Wellesley College, where she's secured a low-level art-history teaching job. We're told in a voice-over that she "makes up in brains what she lacks in pedigree," and to prove it she's toiling away right there on the train, holding her slides up to the light coming through the window. Roberts and the camera linger longest on a familiar image: Picasso's Les demoiselles d'Avignon, the painter's big break with traditional modes of representation. Which, last time we saw it on the big screen, was sinking to the bottom of the ocean in Titanic, along with Monet's Water Lilies and Leonardo DiCaprio. In reality, of course, it's safely ensconced at the Museum of Modern Art. What makes this 1907 work such a potent signifier of spunkiness that screenwriters are willing to rewrite history to use it?

The better question might be why screenwriters are so willing to rewrite history, period. Mona Lisa Smile's use of Picasso may not be blatantly revisionist, but its use of Julia Roberts is. Set in 1953, squarely between the Seven Sisters experiences of Barbara Bush (who got her MRS from Smith in 1944) and Hillary Clinton (BA from Wellesley in '69), Mona Lisa Smile is an easy feminist fantasy that makes Wendy Wasserstein look subtle. It sends Roberts to Wellesley less as a character than as an ambassador from the enlightened future. She's there to explain it all, to challenge the narrow expectations of the young women of the 50s, to let them know there's more out there than life in service to their future husbands. The film charts her effect on the girls and the hopelessly hidebound institution as both gradually open up.

Her medium for this message is modern art hence Les demoiselles, which stamps her (as it did Kate Winslet) as a forward-thinking woman. It's the filmmakers saying, "If we were there, we would have liked Picasso too. And so would you." This is the worst kind of self-satisfied hindsight--the same sort of device that assures us we too would have joined the resistance or worked on the Underground Railroad. Throughout the movie Roberts asks her students rhetorical questions: What makes art good or bad? Who decides? But the movie answers them as canonically as the syllabus Roberts abandons.

The core students in Roberts's care--Kirsten Dunst as the WASP princess, Julia Stiles as the sensible overachiever, Ginnifer Goodwin as the eager naif, and Maggie Gyllenhaal as the wild Jewess--are book smart. And boisterous. In fact their manners seem contemporary as they knock the new instructor on her bum with their complete knowledge of the syllabus. But for the purposes of the film, book smart isn't good enough: the girls parrot back the information with no awareness and no greater motive than to put this bohemian in her place. Wellesley is a factory, nay, a "finishing school," and the girls' considerable knowledge is dry as dust. According to Roberts they need to feel (an area in which college-age women no doubt still lag today). Roberts has come to Wellesley to "make a difference" (a cliche usually reserved for new teachers braving the inner city), so in her next class she runs off track to talk modern art, shocking the girls into a what-is-art discussion with Chaim Soutine's 1925 Carcass of Beef (though she conveniently neglects to mention that it was inspired by Rembrandt's 1655 Flayed Ox). Later in the film she takes her class to the Village and forces them to look at a Jackson Pollock fresh out of the crate (never mind that Pollock was by 1953 as famous as he'd get during his lifetime).

There's no denying that the Seven Sisters provided many an Ivy League man with a suitable match, but they also played a key part in changing women's roles. Mount Holyoke was the first institution of higher learning for women in the U.S. Smith hosted the first women's basketball game. Bryn Mawr was the first American women's college to offer doctoral studies. And because art history was traditionally a women's field, many women's colleges fielded strong and forward-thinking academic departments. Wellesley, in fact, developed the first modern art course anywhere in the country--in 1926, after art department head Alice Van Vechten Brown hired Alfred H. Barr Jr. as an assistant professor of art history. Barr went on to become the founding director of New York's Museum of Modern Art. In 1947 MoMA architecture curator John McAndrew succeeded Brown as department head and director of the Wellesley art museum. By 1953 an art history class wouldn't have even had to leave campus to take in some modern works.

Mona Lisa Smile fudges not just its immediate context but also the broader period in which it's set. The film hints at cultural fallout from World War II, but mostly in the form of vanished engagements and fiances. It doesn't acknowledge Simone de Beauvoir (The Second Sex was published in English in 1953) or Elizabeth II (who'd become the Queen of England in '52) or Clare Boothe Luce (who became the first woman to represent the U.S. in a major diplomatic office in '53). Somehow all Mona Lisa's Wellesley girls know of rebellion is Roberts's wardrobe and the lesbian infirmarian (Juliet Stevenson, wasted in the role) who's fired early in the film for passing out diaphragms.

Part of the problem is simply that Mona Lisa Smile is a Hollywood film, and Hollywood isn't good at depicting the life of the mind. It's the aspect of the human experience films are most ready to state rather than show, resorting to clumsy literal shorthand like numbers on a blackboard.

And Julia Roberts is no help--you either like her or you don't, but either way it has little to do with talent. She's not so much an actor as a vessel for earnest reactions. The Italian professor with whom she eventually becomes involved (Dominic West) nicknames her Mona Lisa for her inscrutable expression upon arrival, but for the rest of the film Roberts is laughing and smiling hugely as always. It's why you like her if you do, although in uncharitable moments I'm reminded of Raymond Chandler's line from The Long Goodbye: "She opened a mouth like a firebucket and laughed. I couldn't hear the laugh but the hole in her face when she unzippered her teeth was all I needed." Roberts does very few period films maybe she just doesn't like them, but maybe Hollywood knows that whatever ability we may have to suspend our disbelief is diminished when we have to imagine such a creature of this world living in another.

Mona Lisa Smile doesn't really try to get around that. The film's treatment of Roberts is a primo example of what I like to call double dating--the way contemporary looks inevitably infect period films. Little about her appearance is adjusted to help you believe it's 1953. She goes around looking like a winter Gap ad while the other characters constrain themselves in twin sets and pearls. In the opening of the film, when the voice-over notes that "she didn't come to fit in," the camera focuses on her shoes. This ensures that we know who to identify with, that we know who to look to for foresight.

The film gets better in the middle and toward the end, once Roberts and art history are not quite the center of it anymore. Her students--most of the characters, in fact--are all struggling with balancing life (i.e., men) and academe in various ways, chafing under varying levels of oppression. But one of the worst tendencies of period films is to dole out archetypes rather than develop characters, and despite the decent momentum it momentarily achieves, Mona Lisa Smile falls into this trap. Roberts is the "unpedigreed" gunslinger who rides into town and stirs up trouble, and Kirsten Dunst's mother (Donna Mitchell), the president of the alumnae association, is the embodiment of every uptight social convention of the era--she might as well wear horns. A few of the Wellesley teachers and administrators are depicted in evenhanded fashion, but many are silly pursed-lipped bitches who wouldn't be out of place in Flashdance or Animal House. Marcia Gay Harden, playing an etiquette instructor, clings ferociously to the importance of manners and standing by your man in the face of her own weaknesses--she's prissy so nobody else has to be. The four main students are spaced a bit too evenly on the wild girl-good girl spectrum, according to how often they smoke, what kind of underclothes they wear, if they drink, whether they chase men, and how they initially react to Roberts. But the actors fully inhabit these characters, so we care what happens to them.

To its credit, Mona Lisa Smile tweaks some of the cliches you'd expect it to embrace. There's no scene of grand public redemption or vindication, with every character gathered in an auditorium or courtroom, cheering our antihero's victory over the wrongheaded people in charge. And neither of Roberts's romantic subplots plays out in any recognizable Hollywood pattern, although on some level this is not a surprise, since neither actor is as famous as Roberts and so seem like Star Trek red shirts--you just sort of know they're not going to be around for long.

Most important, Roberts's character's advanced thinking about the role of women, which in another film might sweep through entirely unchallenged, is actually confronted. For this the screenwriters use Julia Stiles, whom Roberts is pushing hard to choose law school over marriage after graduation. Stiles turns the tables on Roberts, pointing out that all along she's been telling them to make their own choices--whatever they may be. But this scene and one where the hunky Italian prof asks her what she's getting out of all her proselytizing suffer from everything that Roberts brings to her character. She's incapable of portraying a character who's gone too far, who might permanently alienate someone. So in the end we get to hate Kirsten Dunst's mother, who wants her daughter to endure her new marriage to a cold, philandering husband instead of moving to the Village to--well, what? Play an underappreciated Lee Krasner to an abusive Jackson Pollock? (It's worth noting that nowhere in this movie do we see any artwork by women.)

The fact is, it's easier to talk about whether Pollock's drips are really art 50 years after the question's been resolved than it is to deal with Damien Hirst's pickled sheep or the death of NEA funding now. It's easier to avoid our own oppressive beauty myths by laughing at the pressed aprons and pin curls of the 50s (the final credit sequence rolls over a series of absurdly over-the-top period advertisements). It's easier to take on an extremely black-and-white version of the most salient question from this film--can women bake their cake and eat it too?--than try to answer it in the present, after 50 years of complicated evidence on the unanswerable nature of this dilemma. It's always easier to rewrite history than to deal with our own messes.

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Immortal Dragonand 33, Casca: While some of the writing is far from the best I’ve ever read since first reading this book as a teenager, and I’ll scream if I read, “Until we meet again” one more time, I just love the character and the adventures Casca has as his lives his damned life the best cqsca can. Casca is a galley slave, a mine laborer and wins his freedom in the gladiatorial ring.

Customers who viewed this item also viewed. See all customer images. Sgt Barry Sadler’s hit song about the green berets in Vietnam provides a glimpse into his heart.

Being a huge fan of pulp, Casca seemed to be a character that I would enjoy. The Brotherhood keeps Casca in their sights until the Armageddon though they may hate Casca for his actions on Golgotha, they must not prevent him from meeting their Cawca. Amazon Music Stream millions of songs. The second, bigger one, was that Casey had been fighting for two thousand years, ever since that day on Golgotha when he put his lance into the side of the Man on the Cross.

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