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Wednesday, 07 October 2009 13:02

Mandy Nolan Interview

Comedy In Preview

“I don‘t know what the toilet light used to do,” comic, writer, painter, teacher and Big Joke Festival director Mandy Nolan says of her mother’s nightly security routine.

“She’s one of those anxious, paranoid kind of people and every night you couldn’t go to bed unless you’d left the toilet light on because she was really worried about people breaking in.

“I used to joke and say it was almost like they’d go, ‘Oh no we can’t rape Carol tonight ‘cause she’s left the toilet light on’.”

Many years later, Mandy still has the humour and the habit. “Now, as an adult woman with children, I can’t go to sleep at night unless the fucking toilet light’s on!”

As she returns to the Currumbin RSL with Sandy Gandhi and Jenny Wynter for her ‘Mother Of A Comedy Night’, Mandy says that comedic material finds her given she’s constantly juggling her many hats.

“Sounds like I’m really blowing my own trumpet,” she says in a deepish kinda voice. Her kids think she’s got about five voices: her stage voice, her phone voice and the voice she uses on them: “which is obviously not the voice I’m using on you.”

“I also make their lunches, I don’t do canteen. I do have a great sense of failure as a mother even though I’m very close with my children; I have to admit I’m a bit shit at turning up to stuff. But wait till you have to do canteen or something, you’re goin, ‘I am soo not doing that’.

“On stage as a comic, it’s really about admitting all those times you’ve never quite made it. In the rest of life you’ve got as many opportunities to be a winner, but in comedy, nobody likes someone who’s a winner and successful in comedy,” she laughs.

“We like losers, we like to pull out the bit that failed and have a go at their stuff-ups or their inadequacies. It’s that great shared experience of our humanity and our fuck-ups.”

The all-woman line-up on for the ‘Mother Of A Comedy Night’ doesn’t mean it’s supposed to be an all-woman audience, though. “When they put on a show of blokes, no one thinks it must just be for men.”

‘Mother Of A Comedy Night’ hits the Currumbin RSL October 15.

Wednesday, 26 August 2009 17:07

The Kursk: Interview

Making History With History

News comes and goes at such a rapid pace that it's easy to forget the reality of what's making headlines. Little thought is paid to the thousands of people whose lives are affected by tragic incidents, long after the event.

Wednesday, 15 July 2009 12:57

Dirty @pple

Opera In Preview

So like, there's this stage and stuff and there's two chicks that like sing all the time, like even when you'd talk, y'know? They sing. The two guys are kinda hot but OMG! I'm like whaaat?

It's probably no surprise to hear that “young people”, as a general rule, tend not to suit up and head to the opera. Seems the opera stereotype doesn't compete well with getting pissed, catching a band or even just, sadly, reality TV.

But Opera Queensland has gone all 'If you build it they will come' with its latest production, 'Dirty @pple'.

Set around about now, the opera follows four teenagers who start some serious shit when they post rumours about a teacher on the net. For example, ahh, he kills himself.

Things turn sour for the group as the school reacts to the shock of it all and in true operatic style, some seriously juicy drama ensues. All concerned in the production of 'Dirty @pple' pride themselves on its parallels with reality, including Brisbane student Kiandra Howarth, who plays the production's super bitch, Josie.

We all know Josie. She's that girl that seems to ruthlessly carve up anyone who crosses her. She's heartless, she's gorgeous … she's Sharmaine from Summer Heights High.

“I'm only two years out of school so I can draw on my experiences of the gossiping and the bitching and things like that so that's made it a lot easier for me,” Kiandra says of taking on the role of the 'baddy'. “It's been a real challenge for me to get into the character of Josie and sort of channel the bitch. But it's been so much fun. My mum said, 'who have you been hanging around with lately?' and I said 'no one, I'm just getting into character'.”

The 20 year-old music student said that despite the outlandish-sounding storyline, Dirty @pple was based on the real life experiences or firsthand knowledge of the principal cast members: Milica Illic as Emma, Jordan Pollard as Ben and 17-year-old Kristian Roche as Ryan.

“It's really confronting so I think it'll be really good for audiences to see. Especially older people who aren't aware of what's happening to kids nowadays. Like cyber bullying really is such a big issue for young people,” Kiandra says. “All the principals talked about incidents when teachers had actually been put up on web pages and stuff like that, so it has happened in today's society.”

Dirty @pple has been technically challenging, too. Kiandra said she's had to rethink her approach to accommodate modern vernacular.

“The really contemporary score and the libretto (text) has been my biggest challenge. It's been really hard having to swear a lot in this. The actual aria that I sing the email address in is quite low in my register so it's a real challenge for me to get the words to come out crisp, like the diction and everything,” she says. ”I've had to work quite a lot with coaches on that so it's been really challenging. Like, I've got, in scene 28, I've got 'sluttyemma at hotmail dot com',” she breaks out in song for full effect. “Sluttyemma at hotmail dot com the truth came out, she was fucking him all last year.”

“It's not your stereotypical opera.” No it is not!

In modernizing the medium, ‘Dirty @pple’ skips the tradition of operatic solos. Apart from Facebook, people don't really talk to themselves in a corner all that much nowadays …

“So it's really speech,” Kiandra says. “A lot of it is recit rather than aria, which is speaking in song.

“There's not a lot of one on one arias where a character goes off into his or her own little world.”

Which Kiandra says she hopes encourages her generation to appreciate opera, which she says is “kind of a dying artform these days. I love the drama, I love how every night, or throughout your career, you get up and you can sing such different roles,” Kiandra says of why she loves opera.

“You know, one night you can be pouring your heart out because your lover’s just died and the next night you're Josie the Bitch.”

‘Dirty @pple plays at The Powerhouse Theatre on July 18. Then runs from July 20 - July 25. For more info go to

Wednesday, 24 June 2009 11:54

Oodgeroo : Interview

Theatre In Preveiw

Nineteen years before she died, Brisbane writer, painter and political activist, Kath Walker, was held captive in a hi-jacked plane by Palestinian terrorists for three days.

Oodgeroo Noonuccal, as she was later known, pleaded with them to spare the life of a German banker they’d singled out for execution. They didn’t spare him.

Sixteen years after her death, La Boite plays host to ‘Oodgeroo - Bloodline To Country’, the story of how Kath Walker never forgot the time she couldn’t convince terrorists to value a life.

Brisbane-trained actor Simon Hapea debuts as Oodgeroo’s first son Denis Walker, founder of the first national, all Indigenous political body, the National Tribal Council, and also of the Australian leg of the activist group, Black Panthers.
This tale of a woman he didn’t know put Hapea gladly through his paces.

“It’s been intensive, very draining,” he says. “All consuming. It’s interesting, as an actor, how life can parallel productions, whether they be radio, film, theatre or any of the above. I’ve been travelling the East Coast a lot in the past five years, a lot in the Far North as well and I’ve heard a lot of talk from grass roots, both black and white, about the notions of sovereignty and treaty. So it was fascinating for me to come up in this production and learn of the movement back in the 70s as well. About how strong it’s been pulsing since then,” Hapea says.

In 1965, when she was still known as Aunty Kath, Oodgeroo pretty much instigated her peoples right to vote. Four years after that she stood as the Labor Party member for Greenslopes and told the world it was time to “show our black faces in parliament”.

Forty years on though, it’s for her poetry that she’s most remembered. Hapea says the more he’s learned through working on ‘Oodgeroo - Bloodline To Country’, the more impressive Aunty Kath reveals herself to be. “The strength of her conviction was not allowing herself to be dominated by the anger,” he says. “I think that the vehicle of language and her poetry allowed her to focus all those feelings - that most Indigenous people have felt, I call it generational pain - into such a beautiful form,” Hapea says. “Like all good things, like a beautiful flower, its aroma is pungent but it’s aromatic. It soothes the soul, like Aunty Kath’s words. I think she can get inside of you, of the soul.”

But ‘Bloodline To Country’, as Hapea tells it, isn’t just an ode to Aunty Kath. Told almost from a distance, and without details committing the tale too firmly on either side of the fence, Hapea says writer Sam Watson’s creation welcomes thought, instead of guiding it.

“It’s trying to let the audience be able to step back and remove themselves so that they’re aware of the production, so hopefully they can be more objective about their approach to the material (and) not become so emotionally involved.”

While debuting at La Boite, ‘Bloodline To Country’ is actually a return to old stomping grounds for Hapea. He remembers a much less impressively kitted out campus when he graduated in 1993. But in playing Walker (plus the passionate wharfie Chicka Dickson), Hapea says he’s returned to the method acting he first learned all those years ago. And as a black man, he reckons he’s got loads of method to choose from.

“It’s the extension of Stanislavskian work, the method of using life experience and transposing that through the acting medium so that you’re creating a reality on stage. It’s very accessible for us as actors ‘cause we’ve all sort of had a lot of life experience, very broadly speaking, so we’ve all got a lot in our kit bag,” he says.

And it’s that emotional connection that promises to separate this production from its peers. As Hapea says. “I think a big part of what Indigenous arts and culture bring to the table is the spirit.”
The same spirit that led Oodgeroo Noonuccal, on a plane full of passengers, to plead with terrorists for the life of a man she never knew.

‘Oodgeroo - Bloodline To Country’ plays at the Roundhouse Theatre, Kelvin Grove Urban Village from June 30 to July 11. Book at or call 3007 8600.

Wednesday, 08 July 2009 14:37

St Kilda Film Fest Roadshow


At the helm of The St Kilda Film Festival for 11 years now, Paul Harris and his crew have unearthed the best crop of short films submitted to date; and it’s not just limited to that seaside suburb down Melbourne way as a selection of films have hit the road.

Wednesday, 20 January 2010 09:51

Dirty Three Interview

Real Deal

The combination of a rubber band, a guitar pick-up and a violin back when it started for the Dirty Three made the trio memorable from their first gig in ’93. They were based in Melbourne and brought a whole lotta grit to the idea of instrumentals.

With Warren Ellis playing his violin like a Fender (he’s also of Nick Cave And The Bad Seeds fame), Jim White’s electric guitar and drummer Mick Turner, the Dirty Three could change a person in the time between the start of their set and the end.

Still can.

They get into their songs; claw around every crescendo, nook and dusty corner, uncover the truth of whatever they find, hold you there for a while and then move on.

One of their more epic creations, ‘Deep Waters’, clocks in at 16 minutes and 30 seconds.

To say their reputation is a credible one by those in the know is putting it lightly.

London-borne music festival All Tomorrow’s Parties, which for the past ten years has been curated by all sorts of musical marvels like Mogwai, Mike Patton and the Yeah Yeah Yeahs, name drop the band as a stand out at ATP’s Aussie debut last year.

They’re not a band happy dwelling in one place too long so it’s surprising for many to hear their current Australian tour (Ellis has been Paris-based for 12 years and White lives in New York) is a huge return to familiar ground.

Yep - the band’s first return in four years is all about their fourth album, ‘Ocean Songs’, released in 1998.

Recorded the year prior in Chicago with the reputed Steve Albini, ‘Ocean Songs’ was the Dirty Three’s magnum-opus, according to their PR. Their big and beautiful concept album: an aural and for many, ethereal exploration of all things ocean.

But Ellis remembers things differently.

It’s 11am in Paris and he’s had four interviews already. He invites questions on anything and throws back some answers that he’s given in interviews of old: familiar material.

But he’s frank.

“When they asked us to do it I was against it ‘cause it seemed retrospective and I was never really interested in that,” Ellis says in his pitched Aussie accent.

“And then I got out-voted, as is often the case, and we agreed to it, much against my better judgement, and actually enjoyed it a whole lot. It’s interesting because it’s an album I don’t particularly recall enjoying the recording of.”

Then the phone line turns to shit as Ellis goes into depth on why ATP’s side project, Don’t Look Back - which is associated with the Dirty Three touring ‘Ocean Songs’ - is just so very awesome. Don’t Look Back tours bands that play albums in their entirety. Just as they appeared on an LP, from start to end.

The end of Ellis’ take Don’t Look Back becomes audible …

“ … you know an album has really meant something to you and you’ve really taken it on and at a certain point in your life it’s been really crucial, and suddenly it’s like they’re playing the album for you.

“For me, watching it was the closest to the feeling that I’ve got if I’m playing my own music. There was something, an extra element to it you know, the invovlement that I had as a listener (was more) than I would at another concert and I found it to be a really enjoyable experience, as a listerner and a performer,” he says presumably, of ATP last year.

“It’s a really different thing, I mean I love going to see concerts and I love how they can change you in many ways, But here you actually knew what was coming up and you know what was going to happen so you could sit back and kind of enjoy what you purely love about the group and about the music they made. And I hadn’t expected that you know?”

So the Dirty Three return to their epic ‘Ocean Songs’ without any fear of re-tredding.

For fans who caught it when it first dropped, it should be revealing what the intervening 12 years has done to the sounds of Dirty Three.

Dirty Three play the Tivoli January 25.

Wednesday, 23 December 2009 09:55

The John Steel Singers Interview

Of Capes And Horses

With all the airplay these Brisbane locals have been receiving, you’d be forgiven for thinking they’ve got more than just two EPs under their belt. But the John Steel Singers, named after a horse of the toy/ steel variety, are almost two years into it and still on the edge of releasing their first full-length album.

That’s not to say they haven’t been busy. Vocalist Luke McDonald is fresh from touring when he takes time from uni power-naps and serious cramming to tell us about the next wave for this five-piece.

“Basically I’ve been living at uni trying to finish off all the stuff. We came back from touring and everything was due at the same time so I’ve been sleeping at uni,” he says when we caught up in November.

“I’ve been having like micro sleeps while typing. Basically I’m just writing stuff and then suddenly there’s about 18 h’s or something,” he laughs.

You can hear university degrees all through their music. It’s complicated, full to the brim with intricate arrangements and their sort of romantic-absurdist brand of lyricism.

So when Luke says horses and capes will be involved when the LP drops next year, no one should be surprised. Horses, capes, Brooklyn and a couple of the industry’s best, that is.

Nicholas Vernhes, who’s worked with the likes of Animal Collective, Cat Power and Deer Hunter, mixed their pending LP, and with Robert Foster from the Go Betweens as producer, Luke and the JSS gang can’t wait to bring their shiny new creation out into the open.

“It’s definitely a lot different, like we do it independently and ‘cause we felt like we’d moved on so far from the EPs we didn’t do the general thing and throw all those songs on the album … it was very surprising, the direction of the mix when he (Nicholas Verhnes) kept sending it back. I ended up loving it, really,” Luke says.

“He just has a unique way of looking at things.”

Highbrow pop and Brooklyn’s gritty urban uber-cool aren’t typically two things you’d expect from a Brisbane indie group on the rise. But after the pending summer festival season and a wee bit of a break, that’s exactly what’s a-coming.

“It’s funny ‘cause a few of the guys went over to Brooklyn and they were saying that Nicholas and the people who were involved in that whole thing, scene, everyone at least in Australia obsesses over how cool that place is and it seems that they’re so unaware, they’re just in their little Brooklyn headspace.”

Two years isn’t a long time for five guys in their 20s to go from regular Ric’s gigs to mixing shit up in Brooklyn - independently, mind.

But when Triple J unearthed them, Luke says everything just seemed to come at them thick and fast.

“It’s been a bit crazy lately,” he says, a week from finishing uni for good.

“It was weird, we were playing Rics over and over again for ages and then as soon as we got this unearthed thing it just went crazy pretty much.

“Since then I guess things have settled down while we’ve been recording and everything like that and now we’re just keen to get everything out - it’s been such a long wait really.”

Which is where the horses and capes come into it.

The first single is locked and loaded, a video clip is in the works, but Luke says Brooklyn won’t be the main inspiration of the clip.

“It’s gonna be budget-inspired,” he laughs. “The song calls for a low budget, just ridiculous film clip. So we’ve been trying to work out what to do over the past few days… “

After a bit of prodding he adds, “It involves capes …”

And undies?

“Capes and horses.

“We’re sort of planning it to coincide with our live show over the next four months, over the summer festival period.”

So are you taking horses with you?

“Yeah, possibly live horses … could make the tour van a bit packed up but …”

The John Steel Singers play Sunset Sounds, at the Brisbane Botanic Gardens and Riverstage, January 6-7.

Wednesday, 09 December 2009 04:20

Julian Marley Interview

Rasta Vibes

With a family name that carries as much weight as almost any in the industry, Julian 'Juju' Marley needs little introduction. Six years since his previous offering, the fifth of Bob Marley's seven sons released his third LP, 'Awake', earlier this year. 

Juju took a moment from the tail end of a seven-week US tour last month to tell us a little bit about it. "Everyone on the album is family ... I have my two brothers, have Raggamuffin (Stephen) Marley and Junior Gong (Damian) — For me, this album is geared for uplifting vibes, you know? It's really upbeat."

His Jamaican accent is thick despite an early childhood in the UK. It's hard to tell where one word stops and the next begins, but Julian speaks slowly and deliberately. As the countdown to his first trip to Australia begins, he says he doesn't know where to start on his down under 'must-see' list.

"I've gotta get there first," he laughs. "I'm hoping someone will show us around or something, you know? That'd be nice."

And when he fronts at the third annual Raggamuffin festival next month, Juju is promising just exactly what any reggae fan expects.

"I'm bringing the inspiration of music, of reggae music, to the people, if you know what I mean," he says with emphasis on all the 'ah' sounds. "Which is the power of love and unity. That is what we have. There's a lot of pressure in the world at the moment, but what people don't realise is that it's themselves putting the pressure on, you know?

"So this album is geared for uplifting the spirit, it's the music you know? Songs like 'Trying', which is to keep motivated every day - keep trying no matter what. You know?"

"It's hard to believe this will be Juju's first trip to Oz, but when Julian shares the line-up with the likes of Wyclef Jean and the legendary reggae, dub  production team Sly and Robbie, he says it'll be a reunion of sorts.

"I've been on other bills together around Europe and you know, Sly and Robbie are also our teachers, they're like our teachers, you know? It's always great to be on a bill with them, they're so experienced."

Julian Marley is one of Raggamuffin's headline acts when it comes to the Brisbane Riverstage January 30.

Wednesday, 16 September 2009 09:48

G. Love and Special Sauce Interview

Summer Blues

You might remember that summer about seven years back when American surfer musos ruled supreme. Those of us who'd normally freak out in pithy whitewash found summer solace in the likes of Donovan Frankreiter, Jack Johnson and G. Love and Special Sauce.

It didn't matter we didn't know shit about surfing or that we'd never even been that into coast culture. We knew about hot summers and these guys seemed to ooze cool. G. Love and Special Sauce, first known in these parts with ‘Rodeo Clown' and their reggae-blended hip hop blues, is bringing it back in '09.

Frontman Garrett Dunton (not quite the same ring to it as G. Love) sounds like Bam Margera on Ritalin. He's cool. He's all 'likes’ and ‘y'knows’ and when you ask him what's kept him in the game for ten LPs and 16 years, he describes ‘that’ moment on stage as only a surfer-stoner can.

"You get these like, chills. You get these kinda like chills up your spine and your hair stands up on your head and you feel it come over you. It's a kinda brief moment, y'know?

"I don't know how long your body can sustain those chills for, but it's that euphoric rush. It's like, a pretty magical feeling and I think that, that's the feeling of why I like to play music for people and why I like to write new songs and stuff like that is to, get that feeling y'know?

“There's really nothing like it in the world."

G. Love comes and goes for Byron’s Blues Fest but is hoping his Australia-only LP release, 'Long Way Down', will re-awaken his grassroots following from its flashpan summer back in ‘02.

"It's that fine line between having (someone say) 'oh yeah, I’ve heard of 'em’ and 'oh yeah, I love them and I'm gonna buy all their records'," he laughs, again, like a stoned Bam Margera.

"You wanna have more people saying the second, you know?"

G. Love and Special Sauce have hand-picked tracks for our ears only on ‘Long Way Down’. From the bongos and harmonica of 'Peace, Love and Happiness’, penned in Rio de Janeiro after a brief stint with local kids in a favela, to the laidback but driving blues-rap of ‘Crumble’ , 'Long Way Down' is soaked in summer.

"I think the most important thing you can do as a musician is to find your own thing and find something that's original,” G. Love offers. “I don't feel like I had too many God-given music abilities but I have a lot of passion and love and dedication to music that, over the years, I cultivated into a lot of musical ability and did become a real musician."

He's been travelling alongside John Butler, Xavier Rudd, Jack and Donovan (as he calls them), so G. Love's November tour is all about that chillin, summer, funk goodness.

"Along the way I was able to create my own style, which is the hip hop blues, and that's kinda the heart of what we do.

"It's definitely not middle of the road. It's its own kinda thing and for that I'm proud."

Housed in the US by Jack Johnson's indie label, Brushfire Records, G. Love says he jumped at the chance to go it alone with his own Philadelphonic label for ‘Long Way Down’.

"It's pretty exciting. Like, it's actually our first true, independent release. This time we wanna do something different in Australia and just try to slowly build up our grassroots following down there.

"We've always been well received especially like at the Byron Bay Blues Festival, which we've played a number of times.”

So when he returns in November, G. Love and the gang are promising to chase ‘that’ feeling.

"People work hard to make their money and they work hard to keep their family and everyone's always working hard," G. Love says. "So if they do take time to come to our show, I want really give 'em some good feelings to take home with them ... back to their daily grind."

‘Long Way Down’ is out now on Philadelphonic through Shock. G. Love and Special Sauce play the Great Northern November 20 and The Zoo November 21.

Wednesday, 19 August 2009 11:07

Kisschasy : Interview

Sans drugs and vaginas

Of all the sordid tales to claw their groggy way back to reality from the hazy memories of backstage Splendour, Kisschasy's is in a league of its own.

It was their first big gig since being holed up in a studio somewhere with producer Rob Schnapf (Beck, The Vines, Powderfinger) laying down their third LP, 'Seizures'. It was gonna be huge, they were gonna blow the roof off.

So the ‘Do-Do and Whoa-Oh-Oh’ pop rockers got up, impressed onlookers with a rockin set that got 'em sweaty and screaming, revealed nuggety gems like the quirky 'Weekend' soon to be released on 'Seizures' and then... went home.

The Victorian four piece had, officially, partied itself out. Well, three-quarters of it had as singer/ songwriter Daz Cordeaux tells it. He represented and hung 'round to catch Flaming Lips (*cough* and use up the rider *cough*).

"Our band room was kind of empty and I went in to get a drink of Powerade," Daz begins.

"And there were all these people, these, well, I don't know who they were actually. Just people who were working there, I s'pose, I'd say just industry folk, like in their mid-forties or something, doing cocaine in our band room."


"We're supposed to be the rock band and I was just going in there to get like a juice or something and there were all these old people doing blow in our band room," he laughs.

A little awkward banter ensued, he said. So let's say, in the interest of creating some fictional narrative here, it went something like:

Daz: 'Oh, hey (?).’

Unknown blow folk: 'Hey... ah (sniff) don't mind us. You ahh, you want some, little boy?'

Daz: 'No thanks. I'm gonna go catch me some straight up rock and roll, I need none of your shenanigans.'

"So then I walked out and watched The Flaming Lips come out of a massive vagina."

And to think band mates, bassist Joel Vanderuit, guitarist Sean Thomas and drummer Karl Ammitzboll missed that whole trip back in time.  

"I can't imagine being on drugs and seeing that show."

So Daz says Kisschasy isn't exactly pricing neon vagina sets just yet, but will bring its own kind of bang when the four piece tours 'Seizures' nationally.

"I like the idea of keeping it real and being this straight forward rock band that is passionate about the music. But at the same time, I also like the idea of grandiose kind of outfit changes midway through the set and these big props that make it like, all over the top.

"So I'm like a walking contradiction here... I don't know what I want, I'm a little from column A and a little from column B I guess.

"But (at Splendour) we just had our guitars and our songs. I think we've got to the stage now where we're not doing any over the top kind of antics or stuff like that.

"I think it's feeling more like a career now, I feel like we're a career band y'know, our music is only getting better and we're only getting better as we go along,” Daz says.

"I think we're just focused on putting on a really rockin' show."

The band have already packed up their shining new single 'Generation Why' (an ode to drunken problem solving of the world's issues that never amounts to anything) in preparation for the tour and release of 'Seizures' later this month.

Favourites come and go for Daz but at the moment, he says he's digging on the album's third track, 'Weekend'.

“We're using angular chords and kind of different rhythms and all sorts of percussion and it's definitely left of centre, a bit more original.

“Which kind of sums up the record, I guess,” he says.

“It's been instilled in me, since I was young, to write pop music. But this is kinda like a little bit more fucked-up pop music.”

Sans party drugs and gaping vaginas, mind.

'Seizures', out thru Eleven/Universal Music, will be in stores from this Friday. Kisschasy play the Tivoli Sept 25, Coolangatta Hotel Sept 26, and The Lake, Kawana Waters, Sunshine Coast Sept 27.

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