How early is too early to get festival passes?

Students express their views on summer music festival tickets already on sale. 

When exiting a music festival on its very last day, attendees can usually see a banner declaring the scheduled dates for the next edition of the festival. Not only that, but it only takes two to three months after the end of a music festival before the announcement of the following year happens. 

Montreal’s Osheaga, arguably the biggest and most popular music festival in Quebec, has been running an “exclusive” presale for its 2024 summer dates since early November. Green Day is the first and only headliner announced up to now. The 3-day passes are released almost one year in advance along with some “premium offers,” according to promotional emails, to welcome festival fans in getting ahold of them sooner. 

Some students at Concordia share their personal approaches regarding music festival passes being released recently for next summer. Mirra Lazarus, a psychology student, believes “it’s a bit of a manipulative, but expected, marketing scheme to get people to ensure they meet their sales quota.” 

According to Lazarus, acquiring those weekend passes provides a feeling of security and means that people have a stable event to look forward to. However, she adds that it is unfortunate if you don’t like the lineup since you have to stick with it or resell it in the end. Overall, Lazarus added that she would never buy festival passes a year in advance not knowing what the lineup is, even if they also make the passes cheaper in advance to get to that sales quota.

For communications and sociology student Adèle Décary-Chen, purchasing a festival pass way ahead of time includes more inconvenience than benefits. “It kind of limits me in my future plans, especially in the summer,” she said. Indeed, settling on very specific dates in the city that far in advance can reduce flexibility and get in the middle of any travel plans or short-notice situations that may come up. Chen said she would only show up to a music festival if she knew artists on the lineup to make it worth her money. Although this is common behaviour, there is always the possibility of tickets selling out by the time the lineup is released. More often than not, there aren’t any more passes. “That’s what happened for the Festival d’Été du Québec last summer for me,” she said.  

On one hand, securing festival passes in advance can be a way to confirm one’s attendance without the stress of worrying about potential sold-out dates. Moreover, folks tend to sometimes travel across the province, the country or even overseas to attend a music festival. Purchasing passes way ahead of time then helps plan for those special travels. 
On the other hand, the initial price of passes can even significantly drop closer to the dates if it’s not already sold out. People on social media might be reselling or a friend of a friend might be getting rid of their ticket last minute therefore making it cheaper, to increase the chance of selling it. Not buying months prior might then result in saving a couple of bucks. The reassurance of knowing the entire lineup of featured artists can also be a crucial factor in the decision, before dropping hundreds of dollars on passes.

After discussing with students, there isn’t exactly a better time to get ahold of passes. The decision caters and depends on how individuals prefer to organize their visits to festivals, whether they are located here or outside the country. It’s an undeniable matter of tolerance for the unpredictable and elements like the scheduled weekend, lineup, pricing, availability, and assembling your festival attendees group all play an important role. One thing is for sure, music festivals are settings people will always want to be a part of and Osheaga passes are now available for the taking.

Festival Review Music

POP Montréal International Music Festival is approaching

What to expect at the 22nd edition of the non-profit festival.

Who said music festivals were only for the summertime? Even if the weather isn’t as warm, the music scene in Montreal remains vibrant year-round. POP Montréal will be taking place from Sept. 27 to Oct. 1—the annual event has been encouraging artistic independence since 2002. 

As indicated on their website, POP MTL came to life from the collective eagerness of friends and colleagues to establish a major cultural event at the core of the city. Its 22nd year is kickstarting this week and represents “more than ever an essential event on the Montreal festival circuit and the international music scene,” as the organizers of the event state on the web. Over the last two decades, the event has amassed more than 400 artists and 60,000 festival attendees.

Since the festival is based in Montreal, putting forward local artists is a no-brainer, but the word “International” is in the title for a reason. The team offers a lineup from both emerging artists and renowned names from around the world. The festival’s initiative and impact on the overall art scene also lies in its extensive program, aiming to include diverse art forms as part of its activities, including art exhibitions, film screenings, a sale from local artisans, events for kids, and “long-lasting parties until the end of the night.” 

POP Symposium will be your time if you are into panel discussions, creative workshops, artist talks and networking events. Better yet, it will be free and open to all. 

The panels will tackle the “big questions around music, communities, and the forces that shape our cultural engagement, encouraging new connections between local and international artists, industry and fans” according to the POP Symposium page

Performing artists to check out ~

From its impressive lineup, here are my top picks for you to keep an eye out for. Previously seen at the Jazz Music Festival this summer, Annahstasia is back from California—get ready to get shivers from her powerful and stunning vocals. We can expect the upcoming performance of her folk-rooted album Revival to showcase her renewed love for music, which she shares was found “after a period of uncertainty, and facilitated a potent resurgence of self.” 

Next up is Montreal-born Gayance, who is now based in Amsterdam after spending her time growing up between Bruxelles, São Paulo and Montreal. If you’re into “jazzy-house with Brazilian spices” and you feel like journeying through Black history with flares of Afro-Latin jazz, Caribbean, West-African and electronic music, make sure to not miss this show! 

Interested? You can pick from three kinds of passes. But if you’re looking for a cheaper fare, check out their Student pass, which is available with a valid student ID to encourage student participation. Locals and students wanting to get involved are also welcome to volunteer! In tune with the Montreal music scene, this local event promises a fun and stimulating time.

Hear me out Opinions

Hear me out: music festivals suck

Before you hate me, I do love music.

I remember a time when I used to romanticize going to Coachella wearing a fringe vest and cowboy boots. It was 2014 and Vanessa Hudgens was considered the “queen of music Coachella” because of her (now viewed as controversial) “boho-chic” looks. 

With so many celebrities attending, music festivals seemed like the ultimate event; not only could you see your favourite artists on stage, you also had the chance of running into an A-list celebrity enjoying the music just like you.

When YouTubers started making content around Coachella, it opened the doors to the exclusivity of the event and its popularity boomed because people finally thought, “this is accessible for everyone.”

What my naive teenage self did not realize was that buying the cheaper package — which would still break the bank — would still not give me access to walk among the Kardashians of this world freely.

However, “I’m going to Coachella” became the new “I’m going to Disney World” for teens and young adults.

In early 2017 it was revealed that Coachella co-owner Philip Anschutz was found to have donated large amounts of money to anti-LGBTQ organizations, that the #CancelCoachella wave started.

At the same time, YouTubers also gave us a glimpse of the not-so glamorous aspects of music festivals.

Lately, if I do hear about Coachella on social media, it’s to criticize it.

As I’ve come to learn more about the reality of music festivals, I realize that maybe Coachella is not the best representation of what they have to offer, but I’m still convinced that my arguments can stand for most music festivals that are somewhat affordable.

When I think about music festivals, I think of music I don’t listen to. As an unashamed listener of popular music, sub-categorized by myself as “sad girl music,” I can never claim to know more than two or three artists on a roster.

Therefore, I can never relate to those infamous 🔥🔥🔥 posts on my Facebook friends’ profiles.

Since my friends tend to go to EDM festivals most of the time, the grandma in me always thinks the music will be too loud, and I have to kindly decline.

Noise aside, I can’t help but think of how hot, dirty and sweaty the crowds watching the shows are. 

Which brings me to my next point: crowds.

The main difference between music festivals and regular concerts is that most festivals take place outside.

In my mind this should sound more appealing than a concert, but the reality is the videos I’ve seen on social media only stress me out, even just watching through a screen.

With that being said, standing at 5’3” does not make me the best candidate for a good concert-viewing experience. And seeing the amount of people sitting on their friends’ shoulders makes me boil inside for the person behind them.

Finally, from what I see on my Instagram feed, everyone’s Osheaga, ÎleSoniq and Picnik Électronik posts seem to have this other thing in common: the fashion leaves much to be desired.

With the conditions I’ve outlined, you’d think that someone going to a music festival would make sure to wear a comfortable outfit. I’m tired of seeing crop tops with wrap-around strings paired with boot-leg pants and cowboy hats.

On top of having to tolerate your uncomfortable outfit, if you want to give your feet a break, you have to sit on the ground.

I don’t know about you, but I’m not flexible enough to sit with my legs crossed without it hurting too much.

And that’s if someone hasn’t stepped on my fingers yet. Or worse, spilled their beer on me.

So, why are we still doing music festivals?

The only redeeming thing about them is the opportunity to see multiple artists at once. But even at that, is it really worth it if I’ll have the worst time there?


Mothland bridges art and performance

The booking company’s inaugural performance went off without a hitch

A frenzy broke out at La Sala Rossa during the final song of Paul Jacobs’ rollicking set on Nov. 17. “This is a new song,” introduced Jacobs in his deadpanning drawl before launching into a fuzz-laden, garagey jam performed in his instantly recognizable style.

As the song came to a close, the band, in a move that would have put a smile on Bo Diddley’s face, dropped their instruments and picked up maracas, launching into a bouncy percussive jam. Inviting the crowd to join them, the venue’s large stage rapidly filled up with entranced concertgoers dancing and clapping to the rhythm. The sense of community was overwhelming and made even the most isolated people feel part of something.

Mothland is Montreal’s newest booking company, and Jacobs’ sold-out showcase, part of the M pour Montréal festival, was their grand debut. Formally conceived in the summer of 2017 by a handful of stalwarts of Montreal’s local music scene, Mothland serves as a loosely extended arm of Distorsion, an annual local psychedelic music festival entering its third year. While they stress their relaxed organizational structure, the Mothland founders admit that, if somebody were to be considered at the helm of the organization, it would be Marilyne Lacombe.

“I actually wake up in the morning,” Lacombe said, poking fun at her colleagues when we met for lunch at Casa del Popolo the afternoon before the show, we were joined by Philippe Larocque and Nasir Hasan, invaluable members of the Mothland family. “I’ve been working in festivals and music for a while,” Lacombe added.

Lacombe is the co-founder of Montreal’s annual Taverne Tour festival, which will be holding its third edition in February. She also played a key role in sending Sunwatchers and Paul Jacobs to this summer’s lauded Emergin Music Festival in Rouyn-Noranda, Que., as part of the Distorsion showcase. Her responsibilities at Mothland, however, are entirely different. “She once vulgarised it well,” Hasan told me. “Distorsion is buying; Mothland is selling.”

Fueled by their unassailable love for music and slight insanity, Mothland is run by the people, for the people. “The idea behind this is to bring better music to more people,” Lacombe said. “It’s really about building bridges between scenes.” In order to achieve this, they emphasize their quasi-communist approach to artist management, which vehemently veers away from the corporate, impersonal attitude they feel often dictates how other booking companies manage their artists. This requires staying active in the scene and working closely with their artists. “We’ve got a family vibe,” Lacombe said. “There are no boundaries. We all do everything together.”

A mainstay in Montreal’s excitingly diverse underground music scene, Jacobs has been sharing his unique brand of grunge psychedelia for over four years. Though he rose to fame as a one-man band, he recently made the switch to a more conventional full-band format, which emphasized the overblown textures displayed on his most recent LP, Pictures, Movies & Apartments. He also acts as a third of Mothland’s original core of artists, alongside the other two groups that shared the bill that night at La Salla Rossa—New York-based virtuosic jammers Yonatan Gat, and Atsuko Chiba, a local group whose calculated experimental sound defies words.

Mothland’s roster is unique in and of itself, composed of over a dozen artists hailing mostly from Montreal, as well as New York, Memphis and Detroit. “Basically all the bands on Mothland were bands that we were working with quite a bit already before [the company’s creation],” Lacombe said. Though the roster is an eclectic one, with artists from all ends of the sonic spectrum, they are all ultimately allied by what Lacombe calls “the psychedelic approach.”

“For us, it’s not a sound—it’s an approach,” Lacombe said. “It could be the content, the lyrics or how you present it.” This emphasis on diversity and the importance of the “psychedelic ideology” also explains their decision to include visual artists on the roster.

M for Montreal’s showcase, especially Yonatan Gat’s set, surely embodied this approach. With the band gathered in the centre of the room surrounded by the crowd, the venue suddenly shapeshifted into a sort of psychedelic arena. The crowd itself morphed into something unrecognizable. The rough-and-tumble spirit, which had accumulated during Jacobs’ set, quickly turned into a mesmerizing serenity which took over the audience. As the Yonatan Gat trio sailed through a dizzying set of pulsating psychedelia, the audience began to notice the more elegantly dressed members of the crowd swaying to the music. Though the audience had just noticed these people, they had been there the entire show, floating along with the night as it subtly contorted.

While the trio did not necessarily top the previous performances, they managed to completely transform the night, proving that the proper space is all it takes to build something beautiful. And supplying that space, is exactly what Mothland is doing.


The M For Montreal festival concluded last week

A plethora of local and out-of-province Canadian acts played over the span of one weekend

Since 2006, M for Montreal has been held every November and highlights hundreds of local and international artists in 15 venues across the city. The festival concluded last week, and these are the best performances the festival had to offer.

Paul Jacobs

Written by Maggie Hope, Arts Editor

Almost exactly one year after releasing his latest album, Pictures, Movies & Apartments, Paul Jacobs took the stage at La Sala Rossa on Nov. 17. As one of the opening acts for Yonatan Gat, Jacobs kicked off his set with “All I Want / Need,” immediately sending the excited crowd into a frenzy. At what was later described by a few audience members as “their best show in a while,” Jacobs exhibited tight musical cohesion. Distorted, melodic guitar blared from the speakers as heavy percussion propelled the crowd into a lively moshpit. This January, the Montreal band will embark on a European tour, and is set to take their unique brand of psychedelic garage punk to a handful of major cities.

The Courtney’s confident and well-rehearsed set was a sight to behold. Photo by Mackenzie Lad.

The Courtneys

Written by Calvin Cashen, Music Editor

Nearly four years after the release of their self-titled, debut album, The Courtneys entered a triumphant 2017 with their anthemic sophomore album, The Courtneys II. At Quai Des Brumes, the Vancouver-imported band confidently blasted their way through a series of fuzz-laden beach tunes, all the while complementing their knack for catchy rock hooks and deft musicianship.

The swelling sounds of guitar chords and tight drumming amped the mix with sticky melodies. The band’s relatively straightforward sound allowed them to explore and even expand on the scope of songs like “Tour” and “Minnesota.” Often delving into long-winded outros, The Courtneys sailed smoothly over their 12-or-so song set, never growing the least bit tired.

The Courtneys’s songs are easy listening, often supplemented by emphatic group chants that add a bit of heft. The set was mostly comprised of tracks from this year’s II album, but nonetheless were big reminders of how far high-energy and gusto can take a performance.

Toronto band Alvvays wowed Club Soda’s audience as if it was second nature. Photo by Mackenzie Lad.


Written by Calvin Cashen, Music Editor

Alvvays played at Montreal’s Club Soda Friday night, their latest performance in the city since the release of their widely-acclaimed sophomore project, Antisocialites. Despite a striking change in sound and improved sonics, the band managed to channel the lo-fi leanings that made their initial outputs all the more appealing.

The fans let out bursts of receptive cheers to “Archie, Marry Me,” which saw guitarist Alec O’Hanley twiddling with pedals and guitar distortion to give the song an added flair. The crowd’s infectious energy gave way to an ambience that felt both intense but somehow familiar. Credit is due to the high-octane vitality of Alvvays’s music, which often led the crowd into boisterous chants whenever the band finished a song.

The tracks were sung in perfect pitch, but were firmly planted in the formidable melodies and sunshiny guitar licks that fans of Alvvays have grown to love. The band’s performance served as a glimpse into a potential future for Alvvays—a future where their music transcends the icy surroundings of their Canadian upbringing into something timeless and universal.

Feature photo by Erica Hart


POP Montreal turns 15

Interview with co-founder and creative director of POP Montreal, Dan Seligman

An underground music event that brings together over 400 local and international musicians and hosts four days worth of events and performances all across town—is this too good to be true? In Montreal, it isn’t, because it’s happening. The annual music festival POP Montreal is back and celebrating its 15-year anniversary between Sept. 21 to 25.

Dan Seligman, POP Montreal’s co-founder and creative director, is responsible for the festival’s musical programming. He launched the festival as a McGill graduate back in 2002, along with co-founders Noelle Sorbara and Peter Rowan.“I was pretty young—just graduated from McGill, majoring in comparative religion. A friend of mine approached me with the idea of getting involved in creating a musical festival,” said Seligman. At the time, he was doing some work in music, managing his brother’s band, Stars. “For the first edition of POP Montreal, it took us six months to make it happen,” Seligman said. “We made contacts, sponsorships and we invited a few international bands.”

The event was a success and the trio decided to make it an annual festival. “Every next edition has been a continuation,” said Seligman. “It’s a lot of fun and it’s always challenging to manage a festival.” As they grew and developed their brand, the trio realized that Montreal has a huge music scene with lots of opportunities in the industry.

Bringing in countless music legends every year, POP Montreal’s 2016 lineup is no exception. John Cale, the founder of the rock-and-roll group Velvet Underground, will be flying in to perform as a headliner at the Rialto Theatre. He will also host an “artist talk” at the Montreal Museum of Fine Arts.“I’m really looking forward to John Cale—he’s a musical legend,” said Seligman. “This is an exclusive show. He isn’t doing any other shows in North America. He’s flying to Montreal specifically for us.”

POP Montreal will also be hosting a series of late-night shows at the Rialto Theatre. The band 69 Boyz will be playing their 90s top hit “Tootsee Roll” and young hip-hop artist Princess Vitarah will also be performing. Besides showing performances in the main theatre hall, there will be special shows on the rooftop. The first floor area is their club house lounge, where different chefs will be there every night. It’s free and open to the public. “It’s a hangout area in between shows,” said Seligman.

Come celebrate POP Montreal’s 15-year anniversary. Graphic by Florence Yee

POP Montreal brings together a variety of music, art and people from all over the world to participate in the festival. “We have industry people coming from all over the world to check out local acts—local emerging artists can help develop their career and territories across the world,” said Seligman. Every year, local artists are invited to submit samples of their music to POP Montreal for a chance to perform at the festival. They can submit their music through POP Montreal’s website. “Certain artists, such as the headliners, we solicit and ask them to perform and some of the up-and-coming artists go through our submission process, where you can apply to perform at the festival,” said Seligman. Over 1,000 artists submitted their music this year, but only 100 made the cut. “We listen to all the music we receive with our committee. We invite journalists [and] artists to come and listen to it all. We work with the programming team to select artists and put it all together,” said Seligman. As the festival’s creative director, Seligman is constantly meeting new artists. “People are always sending me new music,” he said. “I really enjoy programming and bringing different artists together.”

POP Montreal also launched a new monthly video series called “POP Shots” which aims to give visibility to local artists. “It’s an initiative we did this past year,” said Seligman. “It was cool to work with local artists.” Espace POP, which is a space built for artists to perform throughout the year, is where these artists perform while our team films them and post the videos online. “It’s a showcase of local artists all year round. We’re always doing stuff throughout the year,” said Seligman.

POP Montreal “adds a nice flavour to the city,” Seligman said. “I think it’s a special event. I hope that people love it, support [it] and buy tickets and have a good time.” A word of advice from Seligman to all bands interested in trying out for the festival next year: “Try to make really good music that stands out and that isn’t boring. Keep practicing, keep playing shows and keep doing your music if you love it.”

For more information about tickets and the lineup, visit the festival’s website:


Ooh La L.A.! All-French music fest makes its way to Montreal

Oh La L.A festival in Montreal on Oct. 16. Photo by writer.

Synthesizer, reverb and electronic pop rocked the Ooh La L.A. festival’s first ever Montreal appearance on Oct. 16. The audience at La Société des arts technologiques was treated to the newest up-and-coming French label pop bands in a fun-filled evening. A unique aspect of Montreal’s first Ooh La L.A. was the relative lack of notoriety amongst the bands. Only Housse de Racket, the closing band, had released an album before October, while Tomorrow’s Child has yet to release their first album. It was certainly an unusual vibe with the audience never quite certain what they might hear next.

French artist LESCOP opened the night with tracks from his newly released debut album Lescop. The best word to describe this young Frenchman would be ‘smooth.’ Everything from his voice to his seamless beats and stage presence set the tone for the evening. That said, he had heads bobbing from the get-go with tracks like “La Forêt” and “Tokyo, La Nuit.”

Following LESCOP was the newly formed band Citizens! Members Tom Burke, Lawrence Diamond, Mike Evans, Martyn Richmond and Thom Rhoades hail from London and were arguably the most fun to watch that evening. Signed to the French label Kitsuné, the five-piece band provided an upbeat, captivating and danceable performance.

Burke, the frontman, has a falsetto that was offset nicely by heavy reverb guitar and cracking baselines. There wasn’t a single person in the room who wasn’t dancing by the end of their set. Formed in 2011, Citizens! released their debut album ‘Here We Are’ on Oct. 3.

Photo by writer.

Tomorrow’s Child were third on the line up. Although the duo haven’t yet released an album, they were easily the most well-renowned band of the evening because of member Jean-Benoit Dunckel. Dunckel is also a member of the hit French pop band Air. While Dunckel took over the beats, keyboard and backup vocals, a glitter-adorned Lou Hayter took charge of the lead vocals. Hayter’s ethereal voice paired with Dunckel’s synthesizer produced a dark but beautiful sound. Smoke machines and a constantly changing colourful light display aided in developing the trance-like feel that descended over SAT throughout their set.

If Tomorrow’s Child put the audience into a trance, Housse de Racket woke everyone up. Lead singer Pierre Leroux opened up their set by hailing the Montreal crowd: “We’re very tired because we’ve been on tour for two years but we’re happy to be here!” Drummer Victor Le Manse then set about pounding his extensive drum kit while Leroux hopped around the stage bringing a whole new level of energy to the packed venue.

Although each of the bands had their own distinct sound, the predominant vibe of Ooh La L.A. was an electronic one. Each artist brought energy in the form of synth or electronic beats, but tempo and style varied from band to band. In between artists a masked DJ laid down house beats as the stage was reset for the next performer.

In essence, the festival devoted a night to French labels. Founded in 2009 by Sylvain Taillet, artistic director of French label Barclay/Universal Music France, the festival aims to bring French bands and bands signed to French labels to North American audiences. Originally, Ooh La L.A. was held exclusively in Los Angeles, but it has since expanded. After a three-day stint in Los Angeles this October, Ooh La L.A. moved to San Francisco, Montreal and finally New York City. Ooh La L.A.’s coordinator, Marion Chapdelaine, was pleased with the first Montreal version of the festival: “It was a big success given that it is the first time we have come to Montreal,” she said. “We’re definitely coming back next year!”

To echo Ms. Chapdelaine’s words, Ooh La L.A. was an eventful and well-planned evening. It is well worth a look when the festival revisits Montreal next year.


Mixtape : Under the Snow Festival preview

Under the Snow Festival is an indie records and arts fair that aims to shake the dust off of you that may have been accumulating over the course of the winter season. Now in its eighth year, Under the Snow brings to the forefront 30-odd independent, up-and-coming and innovative musicians from all over Canada to showcase and celebrate their art at four downtown venues: La Sala Rossa, Casa Del Popolo, Divan Orange, and Église St-Denis.
This year’s honourable mentions include Maritimer Julie Doiron, Montreal art band Elfin Saddle and fellow Montrealers Pat Jordache, along with other indie artistes such as Huddle, In Days of Yore, Le Husky and Maxime Robin. On top of all of the great emerging musicians you can check out, the festival also features an arts show where you can buy sweet swag like silk screens, comic books, crafts, food, fashion and of course, records!

Listen to the mixtape here:

SIDE A: Sous la neige
1. “Jacques-Cartier” – Lila dit ça – Jacques-Cartier / Tokyo Man
2. “Salt On The Fields” – Pat Jordache – Future Songs
3. “All There Is” – Fire/Works – All There Is
4. “A Decade Wide” – Give Me Something Beautiful – You’ve Got a Hole In Your Heart a Decade Wide
5. “Djosé” – Maxime Robin – Mondrian Owns Geometry
6. “No One Gets Lost” – Elika – Always the Light

7. “Veste antiballes” – Eugène et le Cheval – Plantes carnivores et autres mécanismes de défense

8. “Sub Rosa” – In Days Of Yore – Sub Rosa
9. “The Dead Man Dance” – Jimmy Target And The Triggers – The Reverb Outlaws
10. “L’uniforme” – Antoine Corriveau – St-Maurice/Logan

SIDE B: Under the snow
11. “L’oubli” – Jeanphillip –  Le bout du monde
12. “Cook You Breakfast” – Pif Paf Hangover – Cook You Breakfast
13. “Les téléphones” – Le Husky – La fuite
14. “Sweeter” – Julie Doiron – Julie Doiron and the Wooden Stars
15. “The Wind Come Carry” – Elfin Saddle – Devastates
16. “Black Waves” – The Loodies – The Loodies
17. “So Fast” – Julie Doiron – Loneliest in the Morning
18. “Quoi faire” – Bisko – Ricochet
19. “Barcelone” – Antoine Corriveau – St-Maurice/Logan
20. “Travellers” – AUN – Phantom G

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