Feb 15

CRAIG DAVID – “Fill Me In”

Popular95 comments • 6,672 views

#855, 15th April 2000

craig david fill As UK Garage hit its end of the century peak, three things became clear. It could ring up the hits, like no underground dance scene since hardcore rave. It was exceptionally flexible – the strains in the charts became more melodic and soulful, while elsewhere the music was getting darker, dubbier and more bass-led or more minimal and MC-driven. That was a bit like rave, too. But the third aspect of garage was not like rave at all: vocalists and rappers were central to this music, and the fans knew who they were.

An eager record industry put these three things together and saw stars. New, marketable stars, addressing the business’ long-running (and aesthetically myopic) beef with dance music – its notorious “facelessness”. The question of what to do with UK Garage and its inheritors is a subplot that plays out across this whole decade. The outcomes are mostly frustrating – potential missed or misused, bright careers fizzling out, and an overall sense of an industry that liked the idea of young, black British stars more than it supported the reality.

But that’s a story for later, as are Craig David’s own run-ins with the media. “Fill Me In” strolls into the charts with the aura of a major talent on the point of being realised. Craig David is the new decade’s first new chart-topper, but he almost wasn’t: he’d made his name as on the Artful Dodger’s “Re-Rewind”, the quintessential garage hit. “Re-Rewind” bumped beguilingly between slinky on the verses and lurching on the chorus: a hit that sounded like nothing before it. Across it all Craig David danced in and out of the rhythm, a hypeman in the process of becoming a soulboy, reconciling the odd geometries of the Artful Dodger’s future with the smooth moves of an audience out for a good time.

Smoothness was the angle David mined for his solo career. “Fill Me In” uses 2-step beats as a way to accelerate the song into its chorus, but the heart of the single is in its slowly unwinding verses, produced with the filigree delicacy of current R&B, golden nets of finely plucked strings enmeshing with the beat’s discreet stutter and David’s voice. Which is a gentle instrument, never really moving beyond ‘fond’ or ‘rueful’ even when describing parental anger. “Fill Me In” is a precise song, living or dying on its web of details – “Wearing a jacket, whose property / Said you’d been queueing for a taxi / But you left all your money on the TV” – which all feel real enough to build the mood. It’s as committed to painting a situation as Destiny’s Child’s “Say My Name”, if not nearly as dramatic.

But that gentility works in its favour, too. “Fill Me In” doesn’t capture the urgency of its chosen scenario – trying to get it on under the shadow of the parental panopticon – but it ends up somewhere just as resonant: looking back on those stolen moments later, a pinch of resentment mixed with nostalgia. Parents may not understand – well, no, in this case they understand all too well – but they’re almost as sympathetic a set of players here as Craig David and his girl. Antagonists, sure, but not villains, just obstacles with their own objectives in the game. And that basic sympathy is a sign of what makes “Fill Me In” work. Even at this point you can hear David being seduced by himself, keen to play the loverman role, but it’s kept in balance by his humane, keen eye. This and “Re-Rewind” together are a fine statement of talent and intent. They were also his peak, but we didn’t know that. For now, welcome to the 00s, again.



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  1. 61
    Mark M on 27 Feb 2015 #

    Re59: I think there are a couple of (sometimes) different things wrapped up in that. 1) Some people just don’t like smooth-sounding music, and the dislike for Craig David on those grounds isn’t that different from why some people don’t like, say, Jamiroquai, Curiosity Killed The Cat or (Lord Sukrat’s beloved) Level 42.

    2) There is, however, also indeed,a long-running critique that claims that there is a (often white) left-liberal demand that black culture should be gritty and authentic, and a consequent disgust when it is slick and shiny. This goes back to 1930s at very least. That’s the charge in Marybeth Hamilton’s book In Search Of The Blues and also a target of Tom Wolfe’s mockery in Radical Chic. I think there is a degree of truth in it (and I’ve often used the Hamilton line of argument) but it can be exaggerated. Or at least if we consider [infamous 2013 bunny], then white men from privileged backgrounds can also get hammered for doing the kind of things that blingy, slick black musicians do. I guess what I’m questioning is the degree to which racial projection comes into play, or simply puritanism*.

    (*Which isn’t necessarily class-dependent – as I think I’ve mentioned before, it’s worth watching the Eat The Document in No Direction Home – those Dylan-goes-electric haters are by no means all studenty middle-class types).

  2. 62
    DJBobHoskins on 27 Feb 2015 #

    Case of what came first – I remember CD being mocked before BS came along, for his seeming self-regard (eg talking about himself in the third person), counting Cliff as one f his favourite artists, and generally the lack of cheekiness, irony or personality. ‘Slicker Than Your Average’ was released two months after the first series of BS was broadcast, and still went 2x platinum in the UK. I say it was ultimately down to quality control going down, coupled with a BS impression that while completely outlandish, probably reflected the zeitgiest in taking the p*ss out of CD rather than starting it.

    Some choice quotes below… (NB: he actually appeared on BS as himself at one point)

    CD: “That whole Bo’ Selecta! thing was damaging. I played along with it, I said it was cool, I can take a joke, roll with it, so I went on the show. But it was killing me. It frustrated me beyond belief because I was there, I’ve got this guy who is milking one of my songs, has me as a caricature, is ripping the piss out of me, a one-trick pony, just hammering it, to the point when I was like, “This is bullshit now.” I met him backstage – he came up and said he wanted to apologise “because I know the effect it has”. I had it out with him. I said, “You’re talking absolute shit. You’re milking the whole thing, and you’re coming up to me saying you don’t want it to have an effect – then you’re doing more shows. You’re talking out of your arse, and if you were a real comedian you’d have moved on to something else. What have you done except poke fun at people at their expense without any regard for the effect it has?”

    LF: “I f***ing hate it when he blames me for what’s happened to him. I’ve got nothing to do with his musical career. He writes his songs, I don’t. If his music career hasn’€™t worked, it’s his fault, not mine. He was slagging me off all last Christmas. He said that I bumped into him, said sorry for affecting his career and that he’€™d called me two-faced. That’s absolute bulls***. That’s why I’ve started doing him again.

    So you’ve never apologised?
    No. I’€™ve done nothing wrong. That character is just Billy Casper from the film Kes with Craig David’s name. Bo€™ Selecta! didn’€™t affect anyone else’s career. When he went to the US after he f***ed Britain off, I kept his name alive.

    Wikipedia: Although David made an appearance himself in the programme, he regretted it even as he was making it: “I didn’t want people to think, ‘Craig’s reacting to it,’ because then they would think, ‘How can we get up Craig’s nose even more?’ So, I did it, but I wasn’t happy about it.”

  3. 63
    Andy on 27 Feb 2015 #

    If memory serves (and God I wish it wouldn’t), technically he’s not playing himself, he’s playing Craig David’s new neighbour David Craig.

  4. 64
    Tommy Mack on 27 Feb 2015 #

    #60 etc: The Bad Touch has got that frat-boy ‘hur hur hur sex’ vibe: oddly asexual and childlike, sex is a dirty thing to be giggled about with mates rather than something they have much interest in experiencing other than as a more street-credible alternative to masturbation. Enjoyed it enough at the time but not in any great hurry to hear it again. I’d probably go with 5. 6 if I was drunk maybe.

    For my sins I’d been a Bloodhound Gang fan in the sixth form, their first album is much more Paul’s Boutique style cut & paste job, the rock/rap stuff came in on One Fierce Beercoaster (the Roof Is On Fire album). At the time it seemed like harmless OMG-outrageous hi-jinks but I’d feel uncomfortable with much of it now. My attitude at the time was ‘this stuff is so outrageous and these guys are self-styled Beavis and Butthead type losers, no-one could possibly take it seriously so how could anyone get offended?’ Obviously, it’s easy to make light of abuse when you’re not the target. Pre-911 I think there was much more of an illusion that the world is getting better so it’s safe to laugh at misogyny, homophobia etc because they’re soon to be consigned to the past where they belong. Nowadays it’s impossible to ignore the ugliness and prejudice that permeates society.

  5. 65
    JLucas on 27 Feb 2015 #

    I definitely find that a little of Leigh Francis goes a long way, but there are flashes of absurdist humour in Bo Selecta that I must admit crack me up. The Craig David thing was probably the best (until, as with most breakout sketch show classics, they killed it with overuse), but I have a sneaking regard for the one-off hatchet job on soap star Claire Sweeney’s pop star aspirations at the time. The fake-advert for her album (Portentous voiceover declaring “THIS is THE SOUND of CLAIRE SWEENEY”, Leigh-as-Claire screeching “JUST FUCKING BUY IT” at the end) was absolutely spot on about how that kind of cash-in pop career was marketed at the time.

    Clip here, though it cuts the end


  6. 66
    Tommy Mack on 27 Feb 2015 #

    #62: I used be totally of the ‘no sense of humour? Pompous git, you’re getting ripped then’ school. But look where that led: MPs on panel shows, showing what great sports they are and worse, ever single f*cking pop star at great pains to show what a humble, decent, down-to-earth person they are.

    #63: I tutored a boy called David Craig. He said he had received his fair share of playground mockery…

  7. 67
    Chelovek na lune on 27 Feb 2015 #

    #66 – surely all this is the fruit of “Cool Britannia”; New Labour hanging out with rock stars, Tony Blair (and Bill Clinton) being cool, etc – jeez, it’s the path to Boris Johnson. Dignity and propriety (and a healthy separation of powers between the serious and the frivolous) be damned, it seems.

  8. 68
    flahr on 27 Feb 2015 #

    #64: Now I want Tom to review at least one upcoming #1 hit as “a more street-credible alternative to masturbation”.

  9. 69
    swanstep on 28 Feb 2015 #

    A forthcoming (soon, so soon) Eminem bunny will happily allow for much more ‘The Bad Touch’ discussion. May also afford #68’s review possibility.

  10. 70
    pink champale on 28 Feb 2015 #

    Bo Selecta aside, Craig David put his failure to break America down to having a white guitarist. He reckoned it made urban stations think he wasn’t urban, while obviously non urban stations wouldn’t play him because he was black. not sure how much there is in this. I imagine there was also an across the board lack of US appetite for UKG too.

  11. 71
    Auntie Beryl on 28 Feb 2015 #

    Craig David’s solo records were released on the Wildstar label, a joint venture between TV ad album specialists Telstar and Capital Radio.

    Wildstar had landed hits for girlband Fierce, “Ain’t That Just The Way”‘s Lutricia McNeal and Conner Reeves prior to this; all given generous airplay on Capital stations, as was Craig David, who on the back of Re-Rewind was perhaps too hot for other stations to ignore.

    I’m sure others are closer to this than me but I believe this model persists to this day, with artist management being linked to specific media groups in some cases.

  12. 72
    wichitalineman on 28 Feb 2015 #

    So… Bo Selecta is in the Keith Lemon lineage? I know I sound like Lex talking about the Beatles, but I genuinely didn’t know that. I don’t get what Keith Lemon is meant to be – it all feels very post-90s, to the point where it’s been photo-copied* so often that no one understands whether it was ironic or a piss-take or a tribute in the first place.

    I’m pretty sure “grotesque Yorkshire Craig David” would have been funny first time round, and probably second and third, but obviously it was hammered into the ground until it became cruel. Jason Lee’s a good comparison. He was a mediocre player, true, but he was probably a far better footballer than any of us (unless there are any ex pro’s lurking in the comments). I felt really sorry for him after a while. I’d certainly say he was more talented than David Baddiel who seemed to make a career out of being a funnier person’s sneery sidekick.**

    *I appreciate no one photocopies anything anymore. Excuse me while I send this telegram to the Prussian ambassador in Siam.

    **Baddiel recently appeared in Dictionary Corner on Countdown; he was one of those guests who pretends it was him, rather than Susie Dent, who got all the eight letter words. This puts him a Venn diagram sector with Gloria Hunniford.

  13. 73
    Billy Hicks on 1 Mar 2015 #

    51 – You’ve got me looking at the Scottish Singles Chart archives now and they’re absolutely fascinating. There are so many dance tracks in the 1990s that officially either peaked low top 40 or top 75 in the official chart, but were massive top 10 hits – even #1s – in Scotland. Having a quick look at 1996 as an example, Ice MC, QFX, Q-Tex, Ultra Sonic, the Party Animals and Scooter were all absolutely huge up there that year but all must have done next to nothing in the south of England judging by their official chart positions – some of these I didn’t even know had even been released in this country, eg Dutch happy hardcore track ‘Have You Ever Been Mellow’ by the Party Animals which amazingly got to #11 in Scotland. Scooter of course would eventually gain full UK domination, if not quite enough to get any bunnies as bloody brilliant as The Logical Song is.

    And ‘Freedom’ by QFX was a #1 in 1997, as was DJ Sakin’s Protect Your Mind in 1999, which makes me far too happy. As does System F’s Out of the Blue going top 10.

  14. 74
    Tom on 1 Mar 2015 #

    The Scottish Chart would also mean I’d be writing about “Ding! Dong! The Witch Is Dead” and “Blank Space”, both of which I’d love to do. Obviously I’d miss out on a few great tracks too of course.

  15. 75
    Ed on 1 Mar 2015 #

    @56 I don’t actually remember the Bo Selecta Craig David / David Craig very well. What sticks in my mind was his Mel B, which as I remember it managed to hit the trifecta of being sexist, racist and homophobic.

    Like Wichita, I didn’t know who was responsible for it. Does he still have a career, then?

  16. 76
    Cumbrian on 2 Mar 2015 #

    #72: Jason Lee is probably my generation’s Gus Caeser, re: the relevant chapter in Fever Pitch. Obviously, to make it to the Premier League to start with, you have to be the best footballer, not just in your school, but your area and probably your county, as well as one of the 2 or 3 best guys in your “class” at the club you’ve signed on with. Then, once you get there, you’re surrounded by everyone who is at least as good and the gulfs in class suddenly become really enormous – the difference between being in the top 1% of the population at football and being in the top 0.5% of the population gives rise to this idea that players are “rubbish”. Of course they’re not, they’re just being compared to a ridiculously high standard, then the brickbats start flying. I have no real idea how that relates to Craig David though, to be honest. It perhaps doesn’t. I still think that there’s something in the slating of both of them and their reaction to it though, as a point of comparison.

  17. 77
    Izzy on 2 Mar 2015 #

    It’s extraordinary how often that Gus Caesar chapter comes up. I heard someone talking about it on the radio a couple of weeks back. Hornby really tapped into a universal there.

  18. 78
    Cumbrian on 2 Mar 2015 #

    I think there’s something about the way it’s articulated that gives the Gus Caesar chapter resonance – it’s something that it’s possible to see in yourself or in others from your life. I’ve had several Gus moments in my life – where I took the step from the defined area in which I could be perceived as good out into a wider pool where you think “oh right, I’m not *that* good at this. This far and no further for me, more than likely”. Recognising that it doesn’t mean you’re rubbish is the trick I think – difficult to do sometimes though.

  19. 79
    Shiny Dave on 4 Mar 2015 #

    The pattern described in #76 sounds awfully similar to the established pattern of mental health issues in Oxbridge students from them suddenly being surrounded by peers of comparable ability and not being “the best” anymore.

    It’s funny we come across it in discussion of something from the first half of 2000, because (as I’ve mentioned on here before) it was through illness at this point that I went from a top-5% student (and top-1% in at least a couple of areas, and I’d been spending my entire school career up until 1997 at a school for students with learning difficulties and as such skewed still further from my level) to a top-20% student at best. That illness is now less than halfway through my life, and I’ve arguably suffered from (almost entirely undiagnosed) depression pretty much ever since, almost certainly derived from that loss of identity.

    (The writing of music, a hobby I mostly love, is an area this inadequacy comes into sharp focus these days, my lack of instrumental ability making me feel pretty much unable to finish the ideas I start. That was something I never felt around this time when I was mucking about with eJay and Music 2000 mashing small sets of samples into generic dance bangers, and it’s interesting how much that changed when I started writing vocal music. I suspect this is a theme that will keep recurring in my comments as we work through the 2000s indie bunnies and doubtless discuss the post-Britpop “real music” entitlement around that scene.)

  20. 80
    Cumbrian on 5 Mar 2015 #

    79: Well, Hornby went to Cambridge, I think, so there may well be something in that analysis.

    Sorry to hear of your own struggles in this respect too.

  21. 81
    Mark G on 5 Mar 2015 #

    Guys, what was the ‘relevant Gus Caesar chapter’, remind me? I did read the book..

    aye, ‘would you fill me in’ lol.

  22. 82
    Cumbrian on 5 Mar 2015 #

    It’s the short chapter in Fever Pitch talking about Gus Caesar, who played centre half for Arsenal under George Graham in the late 80s. Hornby gives a short biography. When Caesar was breaking into the team, he was quite young and was going through what could be expected of a young player making his way into top level football – variable performances principally but had obviously been seen to have something to warrant promotion into the first team. Unfortunately, he also had a habit of making high profile errors – the most prominent of which caused Arsenal to concede a lead in the League Cup Final against Luton Town, a game they went on to lose. Consequently, the crowd at Highbury started to get on his back and his performances started to spiral downwards, as his confidence drained. Graham bought in Steve Bould and Andy Linighan, further limiting his chances to play at a high level and find his feet/improve/rectify his errors. He’s regularly described as one of the worst players to ever play for Arsenal.

    Hornby then talks about the abuse that Caesar got, essentially talking through in more detail what must have happened to him in his youth, following the format of the short post I put up at 76 and the fact that, despite what everyone was telling him, he clearly was not rubbish. He had fallen short of the highest of standards but he was still better than basically everyone in the country when it came to football but being able to translate that into performance when you’re surrounded by players just as good, if not better than you is the challenge, both physically and mentally. I can’t remember whether he goes into the psychological impact that this may have had on Caesar (it’s some years since I read Fever Pitch and don’t own a copy in any case) but it’s definitely something that happens time and again in football – Jason Lee being my generation’s Gus Caesar, he also kept making errors that cost Forest games (though at the other end of the pitch – I think I remember several bad misses in a UEFA cup tie (though it might have been some other cup competition) that cost Forest an opportunity to progress) and eventually got hounded out of the top league – not helped by the aforementioned FFL/Pineapple On Head sketches.

  23. 83
    Cumbrian on 5 Mar 2015 #

    I think pretty much the whole Gus Caesar chapter is here:


    No mention of the abuse from the crowd. My faulty memory probably. I think Caesar himself has gone on record about that though.

  24. 84
    Tommy Mack on 7 Mar 2015 #

    #79/80: Also sorry to hear about Shiny Dave’s struggles. I do think we have an attitude in the UK that if you’re not #1 you’re a failure. As a teacher, I’ve seen this sort of pressure make countless kids’ lives a misery. Something I always tried to teach them was that most successful people have a string of ‘failures’ behind them, their main shared attribute being the confidence to fail and try again. This really isn’t stressed enough in education.

    Going to Imperial College later in 2000 was a huge slap in the face. I’d been comfortably in the top five students at my comprehensive school but then spent my gap year letting my brain atrophy in a terrible gap year job in a factory in Macclesfield to fund my band’s self released record (smoking too much skunk probably didn’t help either) To find myself up against bright students fresh from the best schools and in a very competitive, male-dominated environment was somewhat intimidating. Actually, that’s not entirely true, it was only really in second year that I started to feel ‘I may not be cut out for this’. Anyway, more on my fraught, sporadically brilliant, often unhappy college years in Populars to come.

    In terms of feelings of inadequacy as a musician, I’ve always felt I’ll never be top drawer technically so I better do something about bit maverick that will stand out for other reasons. When I was learning to play, even the guitar mags were full of britpoppers and alt-rockers deriding the over technical widdlers. I’ve had some *very* modest success since but I do feel frustrated as I often hear music in my head that I lack the chops to transcribe or play and I wonder what sort of music i would be making if I’d set myself a more rigorous practice regime.

  25. 85
    ciaran on 14 Apr 2015 #

    There’s a lot to cover with this one.

    CD made as good a start as you could possibly wish for with Re-wind and FMI. The former especially could be classed in the same bracket as Common People v Unchained Melody. A number 2 perceived to be vastly superior to what stopped it getting to the top. The Avid Merrion controversy has harmed its legacy but it’s still as fresh and joyful as it was when it was released.Would have been a 9 if it was Number 1.

    FMI is perhaps not as stunning but a solid follow up and there’s a touch of the unexpected and pleasant about it that just pushes the right buttons. R ‘n’ B was not something that was high on my musical agenda but David seemed a bit rough around the edges at this point to appeal more than the smooth laid back exponents of the genre.

    A 7 or an 8.

    The bunny has gone back to the shadows for now but whilst the first 4 singles were bang on by the time of his next visit we saw what the future would hold of CD’s musical output which wasn’t the best strategy. Undoubtedly Merrion painted him in a somewhat negative manner but if David had a ‘Fill Me In’ style ace up his sleeve it wouldnt have been anywhere near as bad.The mention of Craig David in almost every song was also highly annoying and a bit damaging in the long term.

    Jason Lee is the obvious football comparison but maybe a better musical one would be Roddy Frame.

    Some immense stuff in the top 10 at this time too.

    Flowers was’nt all that played on the radio at the time except for one pirate station as I recall but even now I cant help but be impressed.The standout single from the time.

    I cant help but enjoy the Bad Touch either. A kind of record for the final exam generation or to be sniggered at by Beavis and Butthead if they were around in 2000 (He said nuts he he he he!). It’s understandable if people roll their eyes to the sky at the mere mention of it now but the beat never fails to please.

    A Song for the Lovers. Well I have to admit that I enjoyed it greatly at the time and even now I could sing along to it regardless of Ashcroft’s fall from grace afterwards. A top gear compilation type song to my ears but worlds apart from what followed.

  26. 86
    Tommy Mack on 14 Apr 2015 #

    “Have you heard Craig David’s retiring from music?”
    “Yeah, he’s joining the Olympic archery team.”
    “No way!”
    “Yeah. He’s not going to compete. He’s going to be a bow selector.”

    – Joke told to me by Nick Lees, then aged 18. This was as far as the CD-mockery got round are (sic) way.

  27. 87
    Steve Mannion on 14 Apr 2015 #

    #70 Re the ‘white guitarist’ story, here’s the BBC report on it from late 2002: http://news.bbc.co.uk/1/hi/entertainment/2480365.stm

    Notable and depressing in several ways. I always remembered the story but it was only in later years that the guitarist himself Fraser T Smith rose to prominence as a pop producer/writer occupying a halfway-house between Calvin Harris and Paul Epworth.

    Most of his work leaves me cold to the point where I am stunned to find he produced Quadron’s marvellous ‘Hey Love’ a couple of years ago.

  28. 88
    weej on 14 Sep 2015 #

    If anyone didn’t see Craig turning up at a 1Xtra live studio event and freestyling Fill Me In then go check it out, it’s a treat.

  29. 89
    Izzy on 15 Sep 2015 #

    That’s brightened up a slow afternoon, thank you.

  30. 90
    Tommy Mack on 23 Oct 2018 #

    Fans of Sweet Female Attitude (upon whom much (deserved) praise heaped upthread) take note: They appear to have regrouped and become extremely prolific over the last couple of years: a dozen or so singles and EPs though no second album as yet.

    I’ve listened to a few: nothing as singularly great as Flowers so far but all sounds good.

  31. 91
    Cumbrian on 11 Jun 2020 #

    Just to note here: Bo Selecta and Fantasy Football League both warrant removal from wherever they are streaming, as a corollary to Little Britain, Mighty Boosh and League Of Gentlemen. All obviously racist – and I am more than a little ashamed that I didn’t point out the racism in my initial comments above.

    Comment placed here due to discussion on Craig David being a victim of Bo Selecta and comparisons to the Jason Lee stuff on Fantasy Football League. Could easily have gone on either of the Three Lions entries though.

  32. 92
    Paulito on 14 Jun 2020 #

    @91: Thanks for telling us which TV comedies should now be banned because, 20 years on, you’ve decided to be offended by them on others’ behalf. SMH

  33. 93
    Scott on 15 Jun 2020 #

    we were always offended by them, we just didn’t have Twitter to be heard on back then. Bo Selecta? They were racist caricatures then and they’re racist caricatures now.

  34. 94
    benson_79 on 30 Mar 2021 #

    Happily Craig has now managed to re-establish himself as a more mature artist appealing to the Radio 2 market. He even had his own show playing old garage tunes which my wife and her friends, who frequented these kind of South London clubs in their teens, went absolutely mad for.

    FWIW I regarded anything garage-y with snooty disdain at the time, but the poppier offerings such as this now fill me with a warm nostalgic glow. (Flowers especially has aged very well.)

  35. 95
    Gareth Parker on 30 Apr 2021 #

    A 5/10 for me . I find Craig David’s vocal stylings bordering on irritating, so can’t go any higher than that I’m afraid.

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