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Some People Need Killing

A Memoir of Murder in My Country

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Hardcover
$30.00 US
6.32"W x 9.52"H x 1.41"D   (16.1 x 24.2 x 3.6 cm) | 24 oz (675 g) | 12 per carton
On sale Oct 17, 2023 | 448 Pages | 978-0-593-13313-2
| Grades 9-12 + AP/IB
Sales rights: US, Canada, Open Mkt
TIME’S #1 NONFICTION BOOK OF THE YEAR • A NEW YORK TIMES BOOK REVIEW TOP 10 BEST BOOK OF THE YEAR • A “riveting” (The Atlantic) account of the Philippines’ state-sanctioned killings of its citizens under President Rodrigo Duterte, hailed as “a journalistic masterpiece” (The New Yorker)
 
“Tragic, elegant, vital . . . Evangelista risked her life to tell this story.”—Tara Westover, #1 New York Times bestselling author of Educated
 
FINALIST FOR THE NEW YORK PUBLIC LIBRARY’S HELEN BERNSTEIN BOOK AWARD • LONGLISTED FOR THE WOMEN’S PRIZE • A BEST BOOK OF THE YEAR: The New York Times, The New Yorker, The Economist, Chicago Public Library, CrimeReads, The Mary Sue 

“My job is to go to places where people die. I pack my bags, talk to the survivors, write my stories, then go home to wait for the next catastrophe. I don’t wait very long.”

Journalist Patricia Evangelista came of age in the aftermath of a street revolution that forged a new future for the Philippines. Three decades later, in the face of mounting inequality, the nation discovered the fragility of its democratic institutions under the regime of strongman Rodrigo Duterte.

Some People Need Killing
is Evangelista’s meticulously reported and deeply human chronicle of the Philippines’ drug war. For six years, Evangelista documented the killings carried out by police and vigilantes in the name of Duterte’s war on drugs—a crusade that has led to the slaughter of thousands—immersing herself in the world of killers and survivors and capturing the atmosphere of terror created when an elected president decides that some lives are worth less than others.

The book takes its title from a vigilante, whose words demonstrated the psychological accommodation many across the country had made: “I’m really not a bad guy,” he said. “I’m not all bad. Some people need killing.”

A profound act of witness and a tour de force of literary journalism, Some People Need Killing is a brilliant dissection of the grammar of violence and an investigation into the human impulses to dominate and resist.
1

Positive


My name is Lady Love, says the girl.

The girl is eleven years old. She is small for her age, all skinny brown legs and big dark eyes. Lady Love is the name she prints on the first line of school papers and uses nowhere else. It was her grandmother who named her. Everyone else calls her Love-Love. Ma did, when she sent Love-Love to the market. Get the children dressed, Love-Love. Don’t bother me when I’m playing cards, Love-Love. Quit lecturing me, Love-Love.

Nobody calls her Lady, and only Dee ever called her Love. Just Love.

Love, he would say, give your Dee a hug.

Dee is short for Daddy. It embarrasses Love-Love sometimes, not the hug, because Dee gives good hugs, but that she calls him Dee. Only rich girls call their fathers Daddy. Pa should be good enough for a girl who lives in the slums of Manila. But there they are, Dee and Love, Love and Dee, walking down the street in the early evening, the small girl stretching up a scrawny arm to wrap around the tall man’s waist.

Love-Love was supposed to be the third of eight children, but the oldest died of rabies and the second was rarely home. It fell to Love-Love to tell Ma to stop drinking and Dee to quit smoking. You’re drunk again, she would tell Ma, and Ma would tell Love-Love to go away.

Love-Love worried they would get sick. She worried about rumors her father was using drugs. She worried about all of them living where they did, in a place where every other man could be a snitch for the cops.

Ma and Dee said everything was fine. Dee was getting his driver’s license back. Ma made money giving manicures. They had already surrendered to the new government and promised they would never touch drugs again.

Let’s move away, Love-Love told Dee, but Dee laughed it off.

Let’s move away, she told Ma, but Ma said the little ones needed to go to school. We can go to school anywhere, Love-Love said.

Ma shook her head. They needed to save up first. Don’t worry yourself, Ma said.

Love-Love worried, and she was right.

Love, said her father, one night in August.

Love, he said, just before the bullet slammed into his head.

I meet her at her aunt’s. She is sitting on a battered armchair. I crouch in front of her and stick out my hand to shake hers. If nothing else, an interview is an exchange. Tell me your name, and I’ll tell you mine.

My name is Pat, I tell Love-Love. I’m a reporter.

I was born in 1985, five months before a street revolution brought back democracy to the Philippines. That year it seemed every other middle-class mother had named her daughter Patricia. Evangelista, my surname, common in my country, derives from the Greek euangelos, “bringer of good news.” It is an irony I am informed of often.

My job is to go to places where people die. I pack my bags, talk to the survivors, write my stories, then go home to wait for the next catastrophe. I don’t wait very long.

I can tell you about those places. There have been many of them in the last decade. They are the coastal villages after typhoons, where babies were zipped into backpacks after the body bags ran out. They are the hillsides in the south, where journalists were buried alive in a layer cake of cars and corpses. They are the cornfields in rebel country and the tent cities outside blackened villages and the backrooms where mothers whispered about the children they were forced to abort.

It’s handy to have a small vocabulary in my line of work. The names go first, then the casualty counts. Colors are good to get the description squared away. The hill is green. The sky is black. The backpack is purple, and so is the bruising on the woman’s left cheek.

Small words are precise. They are exactly what they are and are faster to type when the battery is running down.

I like verbs best. They break stories down into logical movements, trigger to finger, knife to gut: crouch, run, punch, drown, shoot, rip, burst, bomb.

In the years since the election of His Excellency, President Rodrigo Roa Duterte, I have collected a new handful of words. They rotate, trade places, repeat in staccato.

Kill, for example. It’s a word my president uses often. He said it at least 1,254 times in the first six months of his presidency, in a variety of contexts and against a range of enemies. He said it to four-year-old Boy Scouts, promising to kill people who got in the way of their future. He said it to overseas workers, telling them there were jobs to be had killing drug addicts at home. He told mayors accused of drug dealing to repent, resign, or die. He threatened to kill rights activists if the drug problem worsened. He told cops he would give them medals for killing. He told journalists they could be legitimate targets of assassination.

“I’m not kidding,” he said in a campaign rally in 2016. “When I become president, I’ll tell the military, the police, that this is my order: find these people and kill them, period.”

I know only a few dozen of the dead by name. It doesn’t matter to the president. He has enough names for them all. They are addicts, pushers, users, dealers, monsters, madmen.

Love-Love can name two of them. They are Dee and Ma.

It was a blow that started it, on the wrong door, just down the hall. There was a commotion, fists on wood, tenants protesting, and door after slammed door, punctuated by a man’s voice.

Negative, said the man. Negative, negative, negative.

It didn’t take long for the man to reach Love-Love’s door. Open it, shouted the man.

Inside, Love-Love crouched with her mother. It was three in the morning. Dee was fast asleep on his back, one of the toddlers tucked into his chest. The other children slept scattered around the room. The man kicked the door.

This, Love-Love thought, was how her parents would die.

Her mother opened the door, afraid the men outside would punch through the window and kill them all in a hail of gunfire. Two men burst into the room. Both wore full masks, with holes for eyes and nose and mouth.

“Positive,” one of them said, looming over Dee. Get up, he said.

Dee jerked awake. He tried to sit up, but there was a baby curled into his chest. He fell back again.

Love, he said, before one of the men shot him dead. The bullet burst out of Dee’s right temple. Blood spattered over the baby.

“Dee!” Love-Love screamed.

The baby wailed. Ma wept. She thrust out a handful of paper at the man who killed her husband. Here was proof, she sobbed, that they had mended their ways.

Ma fell to her knees. Love-Love dragged her mother up until she was on her feet. It was Love-Love who squeezed her body between the gunman and Ma. It was Love-Love who stood with the barrel of the gun just inches from her forehead. It was Love-Love, all big eyes and skinny brown legs, who cursed at the gunman and demanded he shoot her instead.

Kill me, she said, not my Ma.

The second gunman held back the first. Don’t shoot, he said. She’s only a child.

They left. It wasn’t for long. When they returned, the first gunman turned back to Love-Love’s mother and raised his gun.

“We are Duterte,” he said, and emptied the magazine.

Ma died on her knees.

Love-Love cursed at the killers. You motherf***ers, she said. You already killed my Dee. Now you’ve shot my Ma.

The gunman swung the muzzle at Love-Love’s face.

Shut up, he said, or we’ll shoot you dead too.

When they left, Love-Love found the hole inside Ma’s head. The blood had gushed through Love-Love’s fingers. Dee lay sprawled where he fell. His eyes had rolled back. Love-Love wanted to hug him, but she was afraid. He did not look like her Dee.

“Dee,” asked the girl called Love. “Are you leaving me, Dee?”

In 1945 the reporter Wilfred Burchette broke the story of a nuclear warhead exploding over the city of Hiroshima for the London Daily Express. He covered what he called “the most terrible and frightening desolation in four years of war.” Burchette marched into Hiroshima carrying a pistol, a typewriter, and a Japanese phrasebook. “I write these facts as dispassionately as I can,” wrote Burchette, “in the hope that they will act as a warning to the world.”

Like Burchette, I am a reporter. Unlike him, I’m not a foreign correspondent. I spent the last decade flying into bombed-out cities, counting body bags, and reporting on the disasters, both natural and man-made, that continue to plague my own country. I spent much of the last six years documenting the killings committed under the administration of President Rodrigo Duterte.

The fact that I’m a Filipino living in the Philippines means that for me, there’s no going home from the field. There is no seven-day shooting schedule with a pre-booked flight and an option to extend; only more corpses, every day. I do not need a translator to tell me that the man screaming putang ina over his brother’s body means “motherf***er” instead of “son of a bitch.” I understand why coffins sit in living rooms for weeks at a time, and I’m ready to refuse, with all manner of excuses, when I am offered a sandwich at a wake by a widow so desperately poor she cannot afford the twenty-dollar formaldehyde injection necessary to preserve a rotting body.
“A journalistic masterpiece . . . One of the most remarkable pieces of narrative nonfiction I have read in a long, long time.”—David Remnick, The New Yorker
 
“Evangelista makes us feel the fear and grief that she felt as she chronicled what Duterte was doing to her country. But appealing to our emotions is only part of it; what makes this book so striking is that she wants us to think about what happened, too. She pays close attention to language, and not only because she is a writer. Language can be used to communicate, to deny, to threaten, to cajole. Duterte’s language is coarse and degrading. Evangelista’s is evocative and exacting.”The New York Times

“Riveting . . . Evangelista’s book is an extraordinary testament to half a decade of state-sanctioned terror. It’s also a timely warning for the state of democracy.”The Atlantic

“In this blindingly ambitious, unfathomably brave, fiercely reported book, Patricia Evangelista exposes the evil in her country with perfect clarity fueled by profound rage, her narrative voice at once utterly brutal and terrifyingly vulnerable. You may think you are inured to shock, but this book is an exploding bomb that will damage you anew, making you wiser as it does so.”—Andrew Solomon, National Book Award–winning author of The Noonday Demon and Far and Away: How Travel Can Change the World

“In this haunting work of memoir and reportage, Patricia Evangelista both describes the origins of autocratic rule in the Philippines, and explains its universal significance. The cynicism of voters, the opportunism of Filipino politicians, the appeal of brutality and violence to both groups—all of this will be familiar to readers, wherever they are from.”—Anne Applebaum, Pulitzer Prize–winning author of Twilight of Democracy: The Seductive Lure of Authoritarianism

“This is a magnificent, brave book about the extrajudicial murders in the Philippines under Rodrigo Duterte. It is written in taut, powerful prose. . . . One of the most important books I’ve ever read.”—Professor Suzannah Lipscomb
© Mark Nicdao
Patricia Evangelista is a trauma journalist and former investigative reporter for the Philippine news company Rappler. Her reporting on armed conflict and disaster was awarded the Kate Webb Prize for exceptional journalism in dangerous conditions. She was a Headlands Artist in Residence, a New America ASU Future Security Fellow, and a fellow of the Logan Nonfiction Program, the Civitella Ranieri Foundation, and the Dart Center for Journalism and Trauma. Her work has earned local and international acclaim. She lives in Manila. View titles by Patricia Evangelista
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About

TIME’S #1 NONFICTION BOOK OF THE YEAR • A NEW YORK TIMES BOOK REVIEW TOP 10 BEST BOOK OF THE YEAR • A “riveting” (The Atlantic) account of the Philippines’ state-sanctioned killings of its citizens under President Rodrigo Duterte, hailed as “a journalistic masterpiece” (The New Yorker)
 
“Tragic, elegant, vital . . . Evangelista risked her life to tell this story.”—Tara Westover, #1 New York Times bestselling author of Educated
 
FINALIST FOR THE NEW YORK PUBLIC LIBRARY’S HELEN BERNSTEIN BOOK AWARD • LONGLISTED FOR THE WOMEN’S PRIZE • A BEST BOOK OF THE YEAR: The New York Times, The New Yorker, The Economist, Chicago Public Library, CrimeReads, The Mary Sue 

“My job is to go to places where people die. I pack my bags, talk to the survivors, write my stories, then go home to wait for the next catastrophe. I don’t wait very long.”

Journalist Patricia Evangelista came of age in the aftermath of a street revolution that forged a new future for the Philippines. Three decades later, in the face of mounting inequality, the nation discovered the fragility of its democratic institutions under the regime of strongman Rodrigo Duterte.

Some People Need Killing
is Evangelista’s meticulously reported and deeply human chronicle of the Philippines’ drug war. For six years, Evangelista documented the killings carried out by police and vigilantes in the name of Duterte’s war on drugs—a crusade that has led to the slaughter of thousands—immersing herself in the world of killers and survivors and capturing the atmosphere of terror created when an elected president decides that some lives are worth less than others.

The book takes its title from a vigilante, whose words demonstrated the psychological accommodation many across the country had made: “I’m really not a bad guy,” he said. “I’m not all bad. Some people need killing.”

A profound act of witness and a tour de force of literary journalism, Some People Need Killing is a brilliant dissection of the grammar of violence and an investigation into the human impulses to dominate and resist.

Excerpt

1

Positive


My name is Lady Love, says the girl.

The girl is eleven years old. She is small for her age, all skinny brown legs and big dark eyes. Lady Love is the name she prints on the first line of school papers and uses nowhere else. It was her grandmother who named her. Everyone else calls her Love-Love. Ma did, when she sent Love-Love to the market. Get the children dressed, Love-Love. Don’t bother me when I’m playing cards, Love-Love. Quit lecturing me, Love-Love.

Nobody calls her Lady, and only Dee ever called her Love. Just Love.

Love, he would say, give your Dee a hug.

Dee is short for Daddy. It embarrasses Love-Love sometimes, not the hug, because Dee gives good hugs, but that she calls him Dee. Only rich girls call their fathers Daddy. Pa should be good enough for a girl who lives in the slums of Manila. But there they are, Dee and Love, Love and Dee, walking down the street in the early evening, the small girl stretching up a scrawny arm to wrap around the tall man’s waist.

Love-Love was supposed to be the third of eight children, but the oldest died of rabies and the second was rarely home. It fell to Love-Love to tell Ma to stop drinking and Dee to quit smoking. You’re drunk again, she would tell Ma, and Ma would tell Love-Love to go away.

Love-Love worried they would get sick. She worried about rumors her father was using drugs. She worried about all of them living where they did, in a place where every other man could be a snitch for the cops.

Ma and Dee said everything was fine. Dee was getting his driver’s license back. Ma made money giving manicures. They had already surrendered to the new government and promised they would never touch drugs again.

Let’s move away, Love-Love told Dee, but Dee laughed it off.

Let’s move away, she told Ma, but Ma said the little ones needed to go to school. We can go to school anywhere, Love-Love said.

Ma shook her head. They needed to save up first. Don’t worry yourself, Ma said.

Love-Love worried, and she was right.

Love, said her father, one night in August.

Love, he said, just before the bullet slammed into his head.

I meet her at her aunt’s. She is sitting on a battered armchair. I crouch in front of her and stick out my hand to shake hers. If nothing else, an interview is an exchange. Tell me your name, and I’ll tell you mine.

My name is Pat, I tell Love-Love. I’m a reporter.

I was born in 1985, five months before a street revolution brought back democracy to the Philippines. That year it seemed every other middle-class mother had named her daughter Patricia. Evangelista, my surname, common in my country, derives from the Greek euangelos, “bringer of good news.” It is an irony I am informed of often.

My job is to go to places where people die. I pack my bags, talk to the survivors, write my stories, then go home to wait for the next catastrophe. I don’t wait very long.

I can tell you about those places. There have been many of them in the last decade. They are the coastal villages after typhoons, where babies were zipped into backpacks after the body bags ran out. They are the hillsides in the south, where journalists were buried alive in a layer cake of cars and corpses. They are the cornfields in rebel country and the tent cities outside blackened villages and the backrooms where mothers whispered about the children they were forced to abort.

It’s handy to have a small vocabulary in my line of work. The names go first, then the casualty counts. Colors are good to get the description squared away. The hill is green. The sky is black. The backpack is purple, and so is the bruising on the woman’s left cheek.

Small words are precise. They are exactly what they are and are faster to type when the battery is running down.

I like verbs best. They break stories down into logical movements, trigger to finger, knife to gut: crouch, run, punch, drown, shoot, rip, burst, bomb.

In the years since the election of His Excellency, President Rodrigo Roa Duterte, I have collected a new handful of words. They rotate, trade places, repeat in staccato.

Kill, for example. It’s a word my president uses often. He said it at least 1,254 times in the first six months of his presidency, in a variety of contexts and against a range of enemies. He said it to four-year-old Boy Scouts, promising to kill people who got in the way of their future. He said it to overseas workers, telling them there were jobs to be had killing drug addicts at home. He told mayors accused of drug dealing to repent, resign, or die. He threatened to kill rights activists if the drug problem worsened. He told cops he would give them medals for killing. He told journalists they could be legitimate targets of assassination.

“I’m not kidding,” he said in a campaign rally in 2016. “When I become president, I’ll tell the military, the police, that this is my order: find these people and kill them, period.”

I know only a few dozen of the dead by name. It doesn’t matter to the president. He has enough names for them all. They are addicts, pushers, users, dealers, monsters, madmen.

Love-Love can name two of them. They are Dee and Ma.

It was a blow that started it, on the wrong door, just down the hall. There was a commotion, fists on wood, tenants protesting, and door after slammed door, punctuated by a man’s voice.

Negative, said the man. Negative, negative, negative.

It didn’t take long for the man to reach Love-Love’s door. Open it, shouted the man.

Inside, Love-Love crouched with her mother. It was three in the morning. Dee was fast asleep on his back, one of the toddlers tucked into his chest. The other children slept scattered around the room. The man kicked the door.

This, Love-Love thought, was how her parents would die.

Her mother opened the door, afraid the men outside would punch through the window and kill them all in a hail of gunfire. Two men burst into the room. Both wore full masks, with holes for eyes and nose and mouth.

“Positive,” one of them said, looming over Dee. Get up, he said.

Dee jerked awake. He tried to sit up, but there was a baby curled into his chest. He fell back again.

Love, he said, before one of the men shot him dead. The bullet burst out of Dee’s right temple. Blood spattered over the baby.

“Dee!” Love-Love screamed.

The baby wailed. Ma wept. She thrust out a handful of paper at the man who killed her husband. Here was proof, she sobbed, that they had mended their ways.

Ma fell to her knees. Love-Love dragged her mother up until she was on her feet. It was Love-Love who squeezed her body between the gunman and Ma. It was Love-Love who stood with the barrel of the gun just inches from her forehead. It was Love-Love, all big eyes and skinny brown legs, who cursed at the gunman and demanded he shoot her instead.

Kill me, she said, not my Ma.

The second gunman held back the first. Don’t shoot, he said. She’s only a child.

They left. It wasn’t for long. When they returned, the first gunman turned back to Love-Love’s mother and raised his gun.

“We are Duterte,” he said, and emptied the magazine.

Ma died on her knees.

Love-Love cursed at the killers. You motherf***ers, she said. You already killed my Dee. Now you’ve shot my Ma.

The gunman swung the muzzle at Love-Love’s face.

Shut up, he said, or we’ll shoot you dead too.

When they left, Love-Love found the hole inside Ma’s head. The blood had gushed through Love-Love’s fingers. Dee lay sprawled where he fell. His eyes had rolled back. Love-Love wanted to hug him, but she was afraid. He did not look like her Dee.

“Dee,” asked the girl called Love. “Are you leaving me, Dee?”

In 1945 the reporter Wilfred Burchette broke the story of a nuclear warhead exploding over the city of Hiroshima for the London Daily Express. He covered what he called “the most terrible and frightening desolation in four years of war.” Burchette marched into Hiroshima carrying a pistol, a typewriter, and a Japanese phrasebook. “I write these facts as dispassionately as I can,” wrote Burchette, “in the hope that they will act as a warning to the world.”

Like Burchette, I am a reporter. Unlike him, I’m not a foreign correspondent. I spent the last decade flying into bombed-out cities, counting body bags, and reporting on the disasters, both natural and man-made, that continue to plague my own country. I spent much of the last six years documenting the killings committed under the administration of President Rodrigo Duterte.

The fact that I’m a Filipino living in the Philippines means that for me, there’s no going home from the field. There is no seven-day shooting schedule with a pre-booked flight and an option to extend; only more corpses, every day. I do not need a translator to tell me that the man screaming putang ina over his brother’s body means “motherf***er” instead of “son of a bitch.” I understand why coffins sit in living rooms for weeks at a time, and I’m ready to refuse, with all manner of excuses, when I am offered a sandwich at a wake by a widow so desperately poor she cannot afford the twenty-dollar formaldehyde injection necessary to preserve a rotting body.

Praise

“A journalistic masterpiece . . . One of the most remarkable pieces of narrative nonfiction I have read in a long, long time.”—David Remnick, The New Yorker
 
“Evangelista makes us feel the fear and grief that she felt as she chronicled what Duterte was doing to her country. But appealing to our emotions is only part of it; what makes this book so striking is that she wants us to think about what happened, too. She pays close attention to language, and not only because she is a writer. Language can be used to communicate, to deny, to threaten, to cajole. Duterte’s language is coarse and degrading. Evangelista’s is evocative and exacting.”The New York Times

“Riveting . . . Evangelista’s book is an extraordinary testament to half a decade of state-sanctioned terror. It’s also a timely warning for the state of democracy.”The Atlantic

“In this blindingly ambitious, unfathomably brave, fiercely reported book, Patricia Evangelista exposes the evil in her country with perfect clarity fueled by profound rage, her narrative voice at once utterly brutal and terrifyingly vulnerable. You may think you are inured to shock, but this book is an exploding bomb that will damage you anew, making you wiser as it does so.”—Andrew Solomon, National Book Award–winning author of The Noonday Demon and Far and Away: How Travel Can Change the World

“In this haunting work of memoir and reportage, Patricia Evangelista both describes the origins of autocratic rule in the Philippines, and explains its universal significance. The cynicism of voters, the opportunism of Filipino politicians, the appeal of brutality and violence to both groups—all of this will be familiar to readers, wherever they are from.”—Anne Applebaum, Pulitzer Prize–winning author of Twilight of Democracy: The Seductive Lure of Authoritarianism

“This is a magnificent, brave book about the extrajudicial murders in the Philippines under Rodrigo Duterte. It is written in taut, powerful prose. . . . One of the most important books I’ve ever read.”—Professor Suzannah Lipscomb

Author

© Mark Nicdao
Patricia Evangelista is a trauma journalist and former investigative reporter for the Philippine news company Rappler. Her reporting on armed conflict and disaster was awarded the Kate Webb Prize for exceptional journalism in dangerous conditions. She was a Headlands Artist in Residence, a New America ASU Future Security Fellow, and a fellow of the Logan Nonfiction Program, the Civitella Ranieri Foundation, and the Dart Center for Journalism and Trauma. Her work has earned local and international acclaim. She lives in Manila. View titles by Patricia Evangelista

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The Women’s Prize for Non-Fiction Announces Its 2024 Finalists!

On February 15, the Women’s Prize announced their 2024 Women’s Prize for Non-Fiction Longlist, including seven titles from Penguin Random House authors. This is the first ever Women’s Prize for Non-Fiction, celebrating “exceptional narrative non-fiction by women” and promoting “excellence in writing, robust research, original narrative voices and accessibility,” according to their website. To be

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