June 1962. The Tennere Desert, 1,000 km south of Tripoli, northern Chad. Five vehicles roll out of the sand and into the scorching noon light. They are not tanks. They are not armored cars. They carry no heavy weapons, no sophisticated electronics, no cooling systems. They are truck chassis, steel ladder frames, leaf springs, diesel engines, and canvas doors. The thermometer reads 52° C.
The nearest French outpost is 600 km behind them. The nearest mechanic is further still. The legionnaires driving them are part of a French army evaluation program called mission fenck. Five prototype vehicles, 10 soldiers, and a simple question. Could a vehicle built in a bankrupt factory in the Lir Valley actually survive the most hostile terrain on Earth? Over the next 6 months, those five vehicles covered 30,000 km of the Sahara.
They broke down. They were repaired with whatever was on hand. They ran out of fuel, refueled from cans, and kept moving. They were never recovered by helicopter. They were never abandoned. They came back. The vehicle that survived Mission Fenick would go on to equip the French Foreign Legion, the British Special Air Service in Afghanistan, and the Presidential Guard of a dozen African states.
It would father an armored personnel carrier that has fought in the mountains of Mali, the forests of Cameroon, and the trenches of Ukraine. It would reach its 500th unit of production in March 2020. With more than 20 nations under its belt, still being manufactured under new ownership in 2026, its name was the ACMAT and it was built on the simplest idea in French military engineering.
A truck that any mechanic in any desert could fix. To understand why the ACMAT bastion exists, you need to understand the problem France faced after 1962. The end of the Algerian War did not only mean the end of empire. It meant the end of the customer base for an entire generation of French military vehicle manufacturers.
Rene Lu had spent 14 years building his company Atellier Lagu Demo into the preferred supplier of converted all-wheel drive trucks for the French colonial army. When the contracts disappeared, the company went with them. Renie died. The Mo site was expropriated. The firm collapsed. His son Paul Ler was 37 years old and had grown up inside his father’s workshops.
He salvaged what remained, moved the operation to Sanair on the Lua estie, renamed it at de construction mechanic de laantique, and sat down to build a vehicle from nothing. What he built in 1967 was the VLA, the VQ liger reconnaissance deu. It was a 4×4 tactical truck with a 2 1/2 ton payload, a range of 1,600 km, a 200 L drinking water tank in the chassis, and the distinguishing design choice that would define everything ACMAT ever produced.
Over 3,500 components were shared across the entire vehicle family. Every variant, every body style, every configuration used the same engine, the same gearbox, the same transfer case ACMAT had designed and patented in house. A mechanic who understood one ACMAT vehicle could repair any of them. A French army industrialist profiled Paul Lgo in 1982 and described him as stocky and determined carved out of more than 20 years of stubborn longer.
He was a man, the profile said, made happy by a good product, good customers, and good workers. Not elegant, not fashionable, effective. The French Foreign Legion adopted the VLA. The troops demarine adopted the VLA. In 1996, the British Special Air Service purchased 20 units of the TPK420 variant for use in special operations.
More than 12,000 ACMAT vehicles were eventually sold to over 50 countries. The vehicle carried French presidential motorcades at Bastile Day parades. It was the default chassis of Franophhone Africa. In 2006, Renault Trucks defense acquired ACMAT. Paul Ler had died in 1998, but the design philosophy he planted in St.
Nazair had taken root too deeply to be uprooted by a corporate acquisition. In 2009, ACMAT revealed its second generation chassis, the VLA2. A year later, at the Eurosetry Defense Exhibition in Paris in June 2010, they placed a welded steel box on top of it and called the result the Bastion. The armored personnel carrier had arrived.
The bastion is not complicated. That is entirely the point. According to Army Guide technical data, the vehicle sits at a combat weight of 12 tons on a 4×4 drivetrain with central tire inflation, run flat tires, and a two-speed transfer case. The original Renault 5 L turbo diesel produced 180 horsepower.
A later variant pushed that to 215. In 2020, Arquis announced a 270 horsepower 4-cylinder option as part of the 500th vehicle production milestone. The armor is high hardness welded steel meeting Stanag 4569. Level two to three ballistic protection. That means 7.62 mm rounds at 30 m will not penetrate. Level two mine protection means a mine directly under the wheel or hull will not kill the crew.
The glass is ballistic to the same standard. The vehicle carries a crew of two and eight fully equipped infantry transported in 8 1/2 cub m of protected internal space. The armament position accepts a 7.62 62 mm or 12.7 mm machine gun or a 40 mm automatic grenade launcher. Three smoke grenade discharges protect each side.
The range is 1,000 km at minimum. Some configurations extend to 1,400. A 120 L drinking water tank is built into the base chassis. It carries no electronic battlefield management system. It has no fire control computer. Air conditioning is optional. Power assisted steering is optional.
The suspension on the base variant is leaf springs. Compare this with the armored vehicles Western armies were fielding in the same decade. The Cougar, the Maxpro, the Boxer, systems that required laptop diagnostics, manufacturer trained technicians, and logistics pipelines stretching back to European factories. Systems that, in the words of Arcus’ own engineering description, required an OEM service contract to keep running.
The Bastion’s pitch was the inverse of all of that. It shared roughly 80% of its parts with the VLA trucks already scattered across Africa. A Malian soldier who had spent a decade maintaining a 1980 VLR could open the Bastion’s engine bay and recognize everything he saw in the Sahel. That is not a luxury. That is survival.
If you are finding value in this kind of detailed look at modern military hardware, hit subscribe. It takes 1 second. It costs nothing. And it allows this channel to keep producing work like this. The Bastion’s first combat deployment was not a gradual introduction. It arrived in the middle of a war, January 2013.
An Islamist coalition had collapsed northern Mali and was advancing south. France launched operation serville on 11th January. Chad, France’s most capable African partner, immediately committed its detach rapid, a rapid reaction force equipped with the newly delivered bastion Patzas variant. The PATSAS, a semi-open top configuration developed with French special forces for longrange desert patrol, combined mobility with a 12.
7 mm heavy machine gun and range sufficient to operate hundreds of kilometers from any support base. In February 2013, Chadian forces entered the Adra Desus, a broken mountain range in northern Mali, where the Jiadis group al-Qaeda in the Islamic Mcgreb had built deep defensive positions among the cliffs and gullies of the Tiga Valley. The force was commanded at the highest level by General Umar Bikimo with a young brigadier general named Muhammad Idrris Debi serving as deputy commander.
He was 28 years old, the son of President Idris Debi, and he rode into the Tigar aboard the PATSAS. The battle lasted weeks. The terrain was brutal. Resupply was intermittent. The PATSAS operated across the mountain approaches while French special forces penetrated the cave systems on foot. According to Raids magazine’s September 2013 issue covering the first combat use of the Bastion family, the vehicles proved capable in extreme terrain that would have stopped heavier armored platforms entirely. Muhammad Idris Davy is today
the president of Chad. The bastion he rode into battle had been delivered fewer than 30 days before the campaign began 3 years later December 16th 2016. Nasumbu Bkina Faso 5 km from the Malian border at 0530 in the morning approximately 40 fighters attacked a position held by the group Mandos anti-terrorist a 600man combined army and John demarray battalion deployed to the border region in January 2013 the attack was sudden concentrated and devastating 12 Burkinab soldiers were killed one bastion was destroyed the
attack was later attributed to Ansurul Islam a jihadist organization led by Ibra Ibrahim Malam do. It was the first major jihadist attack on Bkinabi soil. President Rash Mark Christian Kabor appeared on national television that evening and confirmed the losses, stating that the fight against terrorism would be without respit.
The Nasumu attack opened a phase of the Sahel insurgency that has not yet ended. Bkina Faso had taken delivery of its first 10 bastions in 2012, one of the earliest export customers. The Bkinaba fleet grew into the dozens. Some were operated by the regime of security presidential under General Gielbe Dandere, the man who orchestrated the failed coup of September 2015 against the transitional government in Wagadugu.
Patza’s vehicles were photographed on the streets of the capital that week. The coup failed. The RSP was dissolved. Diendere was eventually sentenced to life imprisonment in 2022 for the assassination of President Thomas Sankara in 1987. The same vehicle type had carried him to power and failed to keep him there. In Cameroon, the story is less troubled.
The battalion intervention rapid trained by American and Israeli advisers received 23 bastions in 2015 and 2016 funded by the United States Department of Defense through the ARIRCOM security assistance program. A further 15 arrived in late 2017 specifically for deployment against Boo Haram in the far north region.
The battalion calls them cyclones. Multiple accounts from BIR officers described the bastions as a fundamental change in capability. Before their arrival, patrols operated in unarmored 4×4 vehicles. Boo Haram ambushes using small arms and rocket propelled grenades had produced heavy casualties. The bastion’s protection level, adequate against small arms fire and light improvised explosive devices, was enough to change the calculus of those engagements.
In 2021, Cameroon received a further 33 bastions for its United Nations peacekeeping contingent in the Central African Republic ordered through the Cameroonian Ministry of National Defense. The same American trust in the bastion suitability for African security partners produced a broader procurement. According to a defense web report citing Jane’s defense data from October 2015, the United States Department of Defense signed a contract with MAC Defense of Allentown, Pennsylvania to supply 62 bastions to partner nations across Afric. Kenya
received 12 vehicles in November 2018. Uganda received 19 for its African Union mission contingent in Somalia. By the time AR was announced the 500th Bastion in March 2020, the vehicle had been acquired by at least 20 nation states across Africa. the Arabian Peninsula and Northern Europe. Saudi Arabia had purchased 71 PATSAS in 2016 for special forces operations in Yemen.
Sweden fielded the uparmored fortress variant with its special operations forces. Senagal deployed 29 vehicles at its independence parade in Dar on April 4, 2019. Purchased through a $30 million grant from Saudi Arabia. Commandan Amth Duf commanded the contingent that morning. In 2020, the European Union’s training mission in Mali handed 13 more bastions to the Malian armed forces as part of a G5 Sahel package that also equipped Nija, Moritania, Chad, and Bkina Faso.
The purpose was to field the five-nation joint force against the very insurgency the Bastion had been fighting since 2013. The Bastion’s competitors in this market have never seriously threatened its position in franophhone Africa. The Panhardam 3, its predecessor, was lighter and carried fewer troops. Its part supply had dried up by the 2000s.
The Otcar Cobra, a Turkish design on a converted American Humvey chassis, offers comparable protection, but carries fewer soldiers and depends on a supply chain rooted in Anara rather than Sazair. The Russian BTR80 is amphibious and faster. But it is fuel thirsty, complex, and its spare parts now flow from a country under international sanctions.
What none of these vehicles offer is the Bastion’s core advantage. the entire VLR logistics network already inside the customer’s army. In 2018, Arcus formalized its position in the American market by signing a license agreement with AM General, the manufacturer of the Humvey, to produce the Bastion in the United States for the foreign military sales channel.
The armored ambulance variant was submitted for evaluation by the United States Army. That year, Arquis was acquired by the Belgian defense group John Cochril Defense. The deal closed on July 2, 2024. The Sent Air Factory continues to produce. John Cockerell Defense Project’s combined annual revenue of€1 billion by 2026.
The story has one more irony worth noting. In November 2022, France offered a batch of approximately 20 bastions to Ukraine free of charge. Ukraine rejected them. According to reporting in West France, Kiev judged them inadequately shielded against artillery fire and anti-tank missiles. France redirected the vehicles through the port of PY in Georgia to Armenia which accepted delivery of 24 in November 2023.
18 months later, Ukraine reversed its decision. Arcus signed a contract for 61 bastions. The Ukrainian side, according to Archis adviser Bertrron Boyard, had opted for a true entry-level armored vehicle. 11 were delivered. 50 more were in production. A vehicle refused as insufficient for a European war was shipped to the same war anyway. June 1962, the Tenere Desert.
five trucks and 10 legionnaires and 30,000 km ahead of them. The ACM80 Bastion has no composite armor. It has no active protection system. Its base suspension is leaf springs. It offers no protection against a heavy anti-tank guided missile or an artillery round or a large-shaped charge. Ukraine was right to say so and wrong to think it made no difference.
It has fought in the mountains of northern Mali, in the forests of Cameroon, in the streets of Wagadugu, in the borderlands of Bkina Faso where 12 men died before dawn on a December morning. It has carried Chadian commanders into some of the most violent engagements of the West African Jihad. It has been purchased by 20 nations across five continents.
It reached 500 units in production in 2020 and has not stopped since. It is not the most protected vehicle in its class. It is not the fastest. It is not the most sophisticated. It is the one that keeps running when there is no workshop, no spare part, no factory representative, and no one left to call. That is not an accident.
That is the deliberate engineering of a man who rebuilt a bankrupt firm on the banks of the Lir and decided that survival in the field was worth more than performance on a specification sheet. The Sahel proved him
QQ4 Bob Dylan and Keith Richards have been close friends for nearly 40 years. The friendship began on a live television program in November of 1986 in the 11 seconds after Bob Dylan called Keith Richards music derivative on camera. Keith Richard’s response to that assessment, one sentence said without anger, without performance, with the specific directness of a man who has nothing to prove and knows it made Bob Dylan laugh.
Then made Bob Dylan go quiet. then made Bob Dylan say two words that people who know Bob Dylan say he almost never said to anyone. This is the story of those 11 seconds and the 40 years that followed them. The program was a live music interview special broadcast on an American network on the evening of November 3rd, 1986. The format was simple.
Two musicians, a host, an hour of conversation about music and the state of it. The producers had assembled the pairing of Bob Dylan and Keith Richards with the specific calculation of television producers who understand that two people with equally strong and potentially incompatible views about what music is and what it should do will produce better television than two people who agree about everything.
The calculation was correct, though not in the way the producers had anticipated. Bob Dylan was 45 years old in November of 1986. Bob Dylan had released Empire Burlesque the previous year and had been on the road for most of the intervening period as part of the True Confessions tour with Tom Petty and the Heartbreakers.
Bob Dylan was in November of 1986 in one of the most prolific and restless phases of a career that had consisted almost entirely of prolific and restless phases. A career that had moved through folk, rock, country, gospel, and back again, that had been declared finished at least six times by the music press, and at each time continued with the serene indifference of a river to the opinions of people standing on its banks.
Bob Dylan had been redefining what music could be. Since 1962, Bob Dylan had invented and reinvented himself so many times that reinvention had become his defining characteristic, not in the superficial sense of a performer changing costumes, but in the deeper sense of a musician who had never allowed his work to settle into a form that could be anticipated or categorized from the outside.
Bob Dylan understood influence and originality and the relationship between them better than almost anyone alive in 1986. Bob Dylan had spent 24 years thinking carefully and specifically about where music came from and where music was going and what it meant that those two things were always in constant conversation with each other.
Keith Richards was 42 years old in November of 1986. Keith Richards had been playing guitar professionally since 1962. Keith Richards had built a career on a foundation of American blues and rhythm and blues. A foundation that Keith Richards had studied with the systematic devotion of someone who understood that the tradition he was building on was not incidental to the music he was making, but essential to it.
that you could not understand what Keith Richards did without understanding where Keith Richards had come from and what Keith Richards had been listening to since he was a teenager in Dartford with American Import Records and a secondhand guitar and no teacher except the recordings themselves. Keith Richards had never pretended otherwise. Keith Richards had in fact spent considerable energy across his career making the lineage explicit, naming the artists, citing the recordings, insisting on the acknowledgement of influence that the mainstream music
industry had a long history of suppressing or ignoring or crediting to the wrong people. If anything, Keith Richards was more transparent about his sources than most musicians of his generation. Keith Richards had always said openly that the Rolling Stones came directly from the blues, that Muddy Waters and Robert Johnson and the specific tradition of the Mississippi Delta were not background influences, but foundational ones.
The music Keith Richards made was in direct and sustained conversation with that tradition, something Keith Richards considered not a limitation, but a responsibility and a form of respect. The interview had been running for 8 minutes when the host asked Bob Dylan about the current state of rock and roll.
Bob Dylan answered with the density and the indirection that characterized Bob Dylan’s responses to direct questions, turning the question over, approaching it from an unexpected angle, finding his way to what he actually thought through a series of observations that moved like a river rather than a road. Bob Dylan was not a straightforward interview subject.
Bob Dylan had been asked about rock and roll in hundreds of interviews across 24 years and had developed the habit of treating the question as an invitation to think out loud rather than a request for a prepared position. The producer Gerald Sherman said afterward that in the first 8 minutes of the interview, he had been slightly anxious, not because anything was going wrong, but because nothing was going anywhere in particular yet.
The interview had the feeling of two conversations happening simultaneously. Bob Dylan’s internal one and the external one visible to the cameras. And Gerald Sherman was not certain in those first eight minutes that the two conversations would converge into something. Bob Dylan talked about influence. Bob Dylan talked about originality.
Bob Dylan talked about the difference between music that absorbed a tradition and transformed it and music that absorbed a tradition and reproduced it. And then Bob Dylan made his assessment. And then Bob Dylan said with the precision of a man making a musical assessment rather than a personal judgment that the Rolling Stones work, and Bob Dylan was specific, naming Keith Richards as the guitarist whose approach he was discussing was derivative in a way that Bob Dylan found limiting.
Bob Dylan said it without hostility. Bob Dylan said it as a technical observation about the relationship between source material and the work that came from it. Bob Dylan said that Keith Richards played the blues the way the blues had already been played, rather than using the blues as a starting point for something that had not yet been played.
Keith Richards had been listening to this with the specific attention Keith Richards gave to things being said about music by people who knew music. Keith Richards did not interrupt. Keith Richards did not shift in his chair or display any of the visible signals of a person preparing a defensive response. Keith Richards listened to Bob Dylan’s complete observation all the way to its conclusion without interrupting and without displaying any visible signal of preparing a response.
Then Keith Richards said one sentence. The sentence was not a rebuttal. The sentence did not defend Keith Richards music or argue for its originality or challenge Bob Dylan’s characterization of what the blues meant in the context of rock and roll. The sentence was something else entirely, something that required a specific kind of confidence to say.
The confidence of a person who has spent long enough thinking about the same things as the person they are talking to that they can locate the exact point where their thinking diverges and say something useful about that point rather than simply defending their own position. The sentence acknowledged everything Bob Dylan had said, the assessment, the distinction Bob Dylan was drawing, the specific musical concern underlying the observation, and then turned it 90°.
Keith Richards took Bob Dylan’s own framework, the one Bob Dylan had used to analyze Keith Richards relationship to the blues tradition, and applied it back to Bob Dylan’s work with the same precision Bob Dylan had used to apply it to Keith Richards. Spare aimed. The sentence asked Bob Dylan something about Bob Dylan’s own music, about the relationship between Bob Dylan’s sources and Bob Dylan’s output that Bob Dylan had not been asked on television before.
The sentence did not attack. The sentence illuminated. Bob Dylan laughed. The laugh was not the polite laugh of someone responding to a joke. The laugh was the involuntary laugh of someone who has been genuinely surprised. The specific kind of surprise that a person of exceptional intelligence experiences when someone else’s intelligence exceeds their expectations.
Bob Dylan laughed for 4 seconds. Then Bob Dylan stopped laughing. Then Bob Dylan was quiet for 3 seconds in the way that Bob Dylan was quiet when Bob Dylan was thinking rather than performing thought. Then Bob Dylan said, “You’re right.” The producer in the booth, a man named Gerald Sherman, who had been working in television for 14 years, said afterward that in 14 years of live television production, he had never heard Bob Dylan say those two words in a public forum.
Gerald Sherman said he had worked with Bob Dylan on two previous occasions and had observed Bob Dylan in numerous other contexts and that you’re right was not a phrase that Bob Dylan deployed easily or often because Bob Dylan had spent 24 years being right about music in ways that other people eventually caught up with. And the experience of being right ahead of everyone else does not generally produce a man who says you’re right readily when someone else makes a point.
The host of the program, a journalist named Patricia Wells, who had been interviewing musicians for 12 years, said afterward that the 11 seconds between Bob Dylan’s assessment and Bob Dylan saying, “You’re right,” were the most extraordinary 11 seconds of television she had been present for. Patricia Wells said that what she witnessed in those 11 seconds was not a debate or a confrontation or a celebrity exchange of competing opinions.
Patricia Wells said what she witnessed was one musician recognizing another musician as an equal, which was in the specific context of Bob Dylan in 1986, not something that happened in public very often. The interview continued for another 42 minutes after those 11 seconds. The conversation between Bob Dylan and Keith Richards in the remaining 42 minutes was described by everyone who watched it as fundamentally different from the first 8 minutes.
The host, Patricia Wells, who had been conducting music interviews for 12 years and understood the difference between the performance of conversation and actual conversation, said that at approximately the 9-minute mark, something shifted in the studio. That the formal interview, architecture dissolved, and what replaced it was something less structured and more genuine.
Bob Dylan and Keith Richards talked about influence and originality and the blues and what it meant to build on a tradition without being consumed by it. They talked about specific recordings and specific musicians with the specificity of two people who had spent their entire adult lives thinking about these things and rarely found another person who had thought about them with equivalent care.
They talked about where music came from and where music was going and whether those two questions were actually one question or two. Patricia Wells said afterward that she had asked approximately four questions in the remaining 42 minutes because Bob Dylan and Keith Richards did not require questions. They required only a room and a camera and the shared understanding that what they were saying together was worth recording carefully.
She said it was the best interview she had ever conducted and that she had conducted the smallest part of it. After the program, Bob Dylan and Keith Richards were in the corridor outside the studio when the host Patricia Wells passed them. Patricia Wells said she did not stop because she did not want to interrupt.
She observed them for approximately 30 seconds from a distance. She said they were talking with the ease of people who had known each other for years rather than people who had met for the first time 2 hours earlier. She said that something had shifted between them during the broadcast that the broadcast had made permanent rather than temporary.
She continued down the corridor and did not look back. She said in her account of that evening that she had decided in that moment not to interrupt the conversation because some conversations are more valuable than any question a journalist might ask and that the conversation she had observed for 30 seconds in the corridor outside the studio was one of them.
She had been a music journalist for 12 years. She recognized the difference. Bob Dylan and Keith Richards have maintained their friendship across four decades. They have appeared together at various events, most significantly at the concert for the Rock and Roll Hall of Fame in 1995, where people who were present described them as inseparable for most of the evening, occupying the same corner of the backstage area and talking with the concentrated attention of people who only have a limited amount of time together and intend to use it
well. Bob Dylan has spoken about Keith Richards in interviews with the specific thoughtful care that Bob Dylan reserves for musicians whose work Bob Dylan considers genuinely important rather than merely culturally prominent. Keith Richards has spoken about Bob Dylan in similar terms with the specific respect of someone who recognizes in another person a commitment to music that goes deeper than career.
Neither Bob Dylan nor Keith Richards has made a public statement specifically about how the friendship began or about the November 1986 interview. Bob Dylan has not mentioned the 11 seconds. Keith Richards has not mentioned the sentence. The interview exists in the archive. The 11 seconds are there. The laugh is there. The two words are there.
What is also there for anyone who watches the interview from its beginning and pays attention to the shift that happens at the 9-minute mark is the specific moment when two people who thought they were appearing on a television program discovered they were actually talking to each other. What Keith Richards said in that one sentence has never been officially reported.
The people who were in the studio that evening, Gerald Sherman, Patricia Wells, the floor crew, the two camera operators, the makeup artist who was watching from the side of the set, have described the sentence in consistent terms. They have described its effect. They have described Bob Dylan’s laugh and Bob Dylan’s silence and Bob Dylan’s two words.
They have not repeated the sentence itself in the specific understanding that the sentence was said between two musicians on a television program and that its power resided in the specific context of that exchange and would not survive removal from it intact. What can be said is this. Keith Richards said something to Bob Dylan about Bob Dylan’s music that used Bob Dylan’s own observation about Keith Richards as its starting point and arrived somewhere that Bob Dylan had not anticipated.
Keith Richards turned Bob Dylan’s assessment 90° and showed Bob Dylan something about the music they had both spent their lives making that Bob Dylan recognized immediately as true. And Bob Dylan said, “You’re right.” Two words said by Bob Dylan in public on live television in 1986 to Keith Richards in response to a single sentence Keith Richards had said about music.
Two words that Gerald Sherman, who had worked with Bob Dylan on two previous occasions, said he had never heard Bob Dylan say in a public forum. Two words that Patricia Wells, who had been interviewing musicians for 12 years, said were the most significant two words she had heard in those 12 years. Not because of their content, but because of who said them and what it cost to say them and what it meant that Keith Richards had produced them in 11 seconds from a conversation that began with Bob Dylan calling Keith Richards’s music derivative. And Keith Richards and
Bob Dylan have been close friends for nearly 40 years. The sentence did its work in 11 seconds on the evening of November 3rd, 1986. The work has been ongoing ever since. If this story moved you, subscribe and leave a comment below. Have you ever said something to someone that turned a potential disagreement into an unexpected and lasting connection? Tell us about it in the comments below.
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