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“Some of us are just wired that way”

Posted in AtraBilious,journalism,movies,music by YTAH on November 4, 2008
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An interview with Paul Blom & Sonja Ruppersberg.

by AtraBilious and DocBenway

* * * * *

Eleven o’clock on a Sunday morning seems an odd time to meet people who share a love of horror movies and heavy music, but that’s when we arranged to meet Paul Blom and Sonja Ruppersberg. Apart from organizing the annual Horrorfest, South Africa’s only dedicated horror movie festival, they also form the core of the industrial band Terminatryx, who will perform a live soundtrack accompanying the Halloween showing of a silent horror classic, with guests.

Part 1

1323_01-paulsonja4When Cape Town’s weather doesn’t play along with our plans for a seafront interview, we agree to move the venue to the Labia on Orange Street, where they started the Horrorfest in 2005 and launched their band’s self-titled debut album in June this year. Despite the wind, the day is sunny, and Sonja shows up sporting outsized sunglasses and jeans. As we learn during the interview, the camo pants that Paul is wearing came from a local army surplus store, now defunct, and the skull ring on his right hand was purchased in Amsterdam. They’ve both been in the industry long enough to know that appearances count, and when to ignore them. As Paul explains later, “If you want to wear a basketball jersey and baseball cap backwards, cool – at least then like-minded people will be able to identify you and you’ll be able to chat much more easily.”

Paul’s musical career started in a garage band with his two older brothers, playing “weird cover versions and made-up, bullshit sounds”. Since then he’s been the drummer for two of South Africa’s most prominent and influential metal outfits – V.O.D. (Voice of Destruction) and later KOBUS!, both times with middle brother, Francois, on vocals. (“Francois wanted to be the vocalist from the get-go,” he says; “I knew I wanted to play drums.”) He branched out into bass guitar while on tour with V.O.D. in 1998 and gradually picked up a variety of instruments. Some of these he learnt specifically for Terminatryx, after hooking up with Sonja (now his wife) when the band was still in its infancy.

For the moment, however, their attention is on the Horrorfest. We spoke to them about their love of music, horror movies, and why it’s important to root for the underdog.

How did the Horrorfest come about?
Paul Blom: We made a short horror movie, imPERFECTION, and we thought, “What the hell are we going to do with it?” It’s hard to sell something like that, if it’s odd, it’s got weird music, and it’s brutal and bloody. And no-one else’s doing that kind of thing so we have to do it. So we started the Horrorfest mainly to have somewhere to show our short movie.

At the same time, the short film competition has become one of the primary attractions of the festival. It’s obviously taken on a life of its own.
Sonja Ruppersberg: Yes; also it’s a nice to be able to give a platform for people like film students and so on – something to work towards, somewhere they can show their work.
Paul: It doesn’t have to be a social, political, age-related thing; you can do something crazy because you can.
Sonja: In fact we’ve received some pretty interesting entries for this year.
Paul: In the beginning we had to struggle to get submissions, but now…
Sonja: We get too much material.

How difficult is it to get feature films to show at the festival?
Paul: We get lots of feature films sent in. And then we have ones we want to show, which we try to pursue. When it comes down to the trouble of getting a bunch of movies, it’s not just a matter of taking something off your shelf and screening it; there’s lots of rigmarole you have to go through. Some films, it’s difficult to get hold of the right people to get the screening rights.
Sonja: It’s months of work to get the rights for everything.
Paul: And sometimes you can’t get hold of anyone, and then you can’t show the film.

Last year, you showed the mainstream horror film Captivity, and this year audiences were given the chance to attend preview screenings of Scar 3-D in various venues across the country. How difficult is it to get input from cinema outlets?
Paul: They are quite accommodating with us; the problem with that is that usually, when they give us a movie, they want a guaranteed amount, and we can’t guarantee that we’d fill up the place. And horror movies, in this country, people prefer to get them on DVD rather than watching them in the cinema. But usually we try to get at least one new movie. Usually it’s easiest to do a sneak preview screening.
Sonja: Some of the movies we still have to still pay a percentage.
Paul: And the venue gets a cut, so it’s not like we’re making a fortune doing this.
Sonja: But we’d rather do that and screen something we want to screen.
Paul: Obviously we don’t want to run a loss; if we break even, I guess we’re happy. But if people will become aware of the festival via something more mainstream, if it’s a horror film, then that’s also okay.

'We were so sick of guys strapping a woman into a chair with gaffer tape.'

"We were so sick of guys strapping a woman into a chair with gaffer tape."

How do you decide which films to screen at the festival?
Paul: Initially we wanted to do some kind of theme every year, but then we decided to mix it all up. But we try to get some old movies, some independent movies, stuff that people have never heard of, and then something that will be on circuit soon. We try to go all over the place. We don’t want to enforce our taste on anyone. It’s a question of getting as wide a variety as possible.

In the past few years, you’ve shown Murnau’s Nosferatu [1922], Häxan, and The Cabinet of Dr. Caligari. Why go to the trouble of showing those films?
Paul: That was at a time when movie-making was still such a new thing, and for those guys to pull that off, even by today’s standards those films are still well made. They may be scratchy and jumpy and the lighting’s not as great, but what did they have back then? A hand-cranked camera with film that runs through at a very erratic speed that can snap at any time.

Do you think attendance for those films is helped by the live soundtrack?
Paul: Definitely. If we just screened the movie, it wouldn’t have gotten as many people interested.
Sonja: Joe Vaz, the guy from Something Wicked magazine, wrote that when he first saw Dr. Caligari, it was hilarious and boring, and half-way through he didn’t want to watch it anymore. But when he saw it with the soundtrack, not that our soundtrack is so fantastic, but it put such a different spin on it that it enabled him to really get into this movie. The movie is so well-made, but you have to give your full attention to it. So if we’ve enabled him to watch the whole movie and appreciate it, that’s brilliant.

Because of the exaggerated style, it’s something that people have to get used to, but then you look at something like Metropolis, where they were basically working with cardboard and mirrors.
Sonja: Yes, just the process of making that movie.
Paul: We want to do that still. We’re going to do a science fiction/manga/fantasy festival, but then I wouldn’t do anything for the soundtrack ourselves.
Sonja: But we’re looking forward to Häxan. There is some incredible imagery in that movie.
Paul: And that was made the same time as Nosferatu, and to me it’s way superior. Technically and visually.

Then again, you’re a huge fan of Nosferatu.
Paul: Oh yes. Big time, and it’s also on our Terminatryx DVD.

You’ve also included your own short film, imPERFECTION, on that disc. What can you tell us about that film?
Paul: We were so sick of guys strapping a woman into a chair, it was time the woman goes and sorts out some people. Equal rights. But I had this idea when I was still at film school, a little experimental thing with round shapes matching up between shots, either blending or cutting to, with someone killing people with no real reason. We decided to get a woman to go out to kill for psychological reasons and link it up with all these round shapes. From wine glass to cigarette burns, a sushi roll, a bass drum, traffic lights. So that was the basis of that, which limited us in a way because you’re forced to match the next shot up like that. And we only had a week to shoot, a week’s pre-production, a week’s production, and a week’s post-production. For a 60 minute short with a budget of R2,000. It’s quite crazy.

Earlier this year you launched your album at this venue, rather than at a club, and you also launched a second festival [The X-Fest] here. What is the appeal of a place like this for you?
Paul: The Labia’s always been very accommodating to us in everything we do. People are starting to forget what it’s like to walk into an older theatre. I went to one of the new theatres, and it was like a bathroom. But a theatre must have dim lighting, maroon velvet drapes; it must be a theatre not a fucking tile box. And at the Labia you can take your alcoholic drink into the movie. Besides, it’s way cheaper to see movies here. They show commercial movies, but since the old days it’s been a place you could go to see art movies. What troubles me is that if a place like this closed down, afterwards people will go, “Damn, the Labia’s closed down.” Well, did you actually support the fucking place?
Sonja: And we’ve always been very much for the underdog; I think that’s also very much part of our make-up. We always want to support the underdog.
Paul: And if people don’t support it, it’s so hard to keep it going… we just don’t want that to happen. It’s like the little video store in Be Kind Rewind that still has VHS tapes – eventually, if it’s going to disappear, people are going to go, “Damn.” You know, support the little shops in your area, rather than going to the big mall there in the suburbs.
Sonja: And the restaurants and places in your area, you have to support them.
Paul: Buy the muffin from your local bakery. It’s just always been the thought-process, and it’s a natural way of doing things.

"We've always been very much for the underdog."

"We've always been very much for the underdog."

The Horrorfest is actually doing wonders for the Labia. Once a year, one night the cinema is full. For example, last year, at the showing of Dr Caligari, people had to be turned away. And most of the people came in costume, too.
Sonja: I was really very impressed; I must say, that night was so amazing. Because at three o’clock the afternoon they phoned us and said, “Look, this show is sold out.” And we thought, Oh my god.
Paul: Of course, we’d like it to be the full week, but there’s always the highlight spots.
Sonja: We try, we do try.

Can you give us some examples, from the last two festivals, of movies you thought deserved to be better attended?
Paul: The original version of The Eye; Peter Jackson’s Bad Taste. Zibahkhana, just for the fact that it was made in Pakistan. It’s a really cool movie. It’s not commercially viable, but the way I look at it, if someone’s screening the first ever Pakistani gore movie, I’d like to go see it. It’s hard to be original, because everything’s been done, but if you put just a little bit of a twist on a well-trodden theme, there’s nothing wrong with that. If you look at the movie Perfume – it’s a story about a serial killer, but the concept is brilliant; another guy would have made a film where a guy just goes around strapping people to chairs with gaffer tape over their mouths. It all comes down to economics. People only push what they think will sell, otherwise they don’t see a point.

Do you ever get annoyed by Capetonians’ notorious lethargy? “It’s a Sunday afternoon, I’d like to go to the festival…” Because you’re Capetonian yourself.
Paul: Often. But I can’t blame them. Because often when I have to go do something and it’s raining, I can easily go, “Oh I’m just going to watch a DVD.”
Sonja: I love Cape Town. I wouldn’t like to be anywhere else – maybe Paris, if I had to choose.

Ever think of taking the Horrorfest up north?
Sonja: We get requests every year.
Paul: Every year people ask us. But people go, “Oh classic, can’t fucking wait for it,” and then you never see those guys. And you go to the mission of organizing it, it costs you a fortune to go there and rent a venue, and you still have to get the people in there to cover your costs.
Sonja: And if they decide to stay in because it’s cold… And you know it’s not just Cape Town. But it’s definitely a Cape Town thing.

You’ve just finished another X-Fest, where you showed movies and documentaries about “extreme music”. Why go to the trouble of organizing something like this?
Paul: I guess I’ve always leaned towards the other side of things, horror movies and alternative music. I was just looking for some cool stuff that no-one knows about, or that people who do know about it would really be chuffed to have a festival dedicated to that kind of thing. So we do a lot of it to amuse ourselves. And there are at least a couple more people out there like us, like-minded people, and I know that when we were younger there was nothing for us like that.
Sonja: We’re human; we do have a sense of community. Even if you want to say you’re off-centre, it’s still nice if there are a few people out there with you who you can chat to or bounce ideas off.

* * * * *

Part 2

As mentioned in Part 1, Paul Blom and Sonja Ruppersberg are the organizers of South Africa’s annual HorrorFest, core members of the industrial outfit Terminatryx, and proud denizens of Cape Town’s underground community. Since we spoke to them, they’ve performed two well-received shows at the HorrorFest, accompanying screenings of Häxan, along with special guests Simon “Fuzzy” Ratcliffe and Sean Ou Tim (ex-Lark) and Matthijs Van Dijk (Dawntreader) on violin.

In Part 2, we spoke to these very industrious people about the evolution of their band, their ongoing involvement in the local music industry, and why making your living in the underground is like herding cats.


Where was the Terminatryx album recorded, and what were the recording sessions like?
Paul: In our lounge. With a Mac and Protools.
Sonja: But it was mixed and mastered in the studio.
Paul: Simon Ratcliffe, now from Sound & Motion studios, offered to mix it. That was before we went to Germany in 2006 to play Popkomm, the enormous annual festival in Berlin. We went into the studio for a week, ten days, which makes a heck of a difference. You need someone with a different ear to bring out the kick-drums, the vocals, and so on.
Sonja: That’s hours and hours of work. But we’re very happy.

So it wasn’t nice and relaxed, considering that it was in your own home?
Paul: Oh, no. It was boiling hot. We tried to do it on weekends when we had lots of time, but all these little things like helicopters, people shouting…
Sonja: The sound of the lift. Also it took very long to do it.
Paul: She thinks four takes is long. [Laughter.] But it’s a laborious process.

Where did the band name come from?
Paul: In the early stages, Sonja and a friend decided they wanted a chick-heavy band, but the other girl dropped out within the first two months. Then we thought, obviously we’d have to have some kind a dominatrix angle if we have two female vocalists. And we liked movies like The Terminator, Tetsuo the Iron Man, Blade Runner, so we combined all of that into “Terminatryx”.

What made you decide to launch the album at the Labia, rather than a live music venue?
Paul: We have the video backdrop. We didn’t want to do just a normal show, we wanted it to be a bit of a production. From the beginning our shows had these sound effects in-between, rather than this dead silence.
Sonja: It’s like a David Lynch movie – you always have that sound that you’re not really sure of, it’s a bit disturbing but you can’t quite place it.
Paul: And that’s all linked to the video backdrop, so I created something for each song. I like incorporating visuals, so we created a lot of stuff ourselves. A lot of venues don’t have decent projectors, and having done the Horrorfest here for such a lot time, it was quite the obvious choice. Although we did have a launch in Jo’burg and Pretoria, and Zeppelin’s has a huge screen, so at least we did it for half the shows up there.

So it’s all quite cinematic, in a way. It seems fusing music and cinema was where your passions are all about.
Paul: That’s what we like, so it’s the natural progression.
Sonja: It’s such a part of the whole production.

The project started in 2002, and some of the songs have been around since that time. What were the problems bringing such a long-gestating project to completion?
Paul: You know, it’s kind of a hobby, but then the hobby becomes serious so you agonize about things, and have to sort it out. So we decided that we had to record it properly or just leave it. I had to pick one or the other, and Ramfest in March was the last show I played for KOBUS!, after which we started re-recording all the Terminatryx songs. The album was released in May, so within three months we sorted the whole thing out, including the photo shoot. That was a very busy couple of months.

1324_02-vod3Paul, you started out as a drummer. When did you start playing the drums?
Paul: In 1986, my two older brothers and I said: we have to start a band. We liked KISS, The Exploited, Metallica, bands like that from the 80s, so we started this band called Moral Decay, playing in the bedroom and in the garage. From there, myself and Francois started another band around 1989, then that kind of dissolved. Later, V.O.D.’s drummer left; at the same time, Ravenwolf was looking for a drummer, as they’d just started out. But V.O.D. was more the kind of stuff I liked, so that’s how I decided to join them. Then I left V.O.D. for a year and during that time Francois joined on vocals.

On the Terminatryx album you’re credited as a multi-instrumentalist. When did you branch out into other instruments?
Paul: I started playing bass guitar when V.O.D. went to Europe, because I had these weird songs that didn’t fit the V.O.D. thing. So I started F8 (pronounced “Fate”), my solo project which no-one knows about, and messed around with that for a few years. Then Francois and Diccon [Harper, bass] came back in 1998 and we played gigs at Oppikoppi and Woodstock. And Greg [McEwan-Marriott, lead guitarist and founder] came back from London. When the Terminatryx thing got started, we tried a couple of guitarists, very technical guys, but I couldn’t get them to play the way I wanted, which was more of an 80s thrash style. So I had to start doing it myself, around 2005, mainly for recordings – it’s all self-taught, from the drums to the bass to the programming.
Sonja: Now we have a great guitarist for live shows.
Paul: Yes, Patrick [Davidson] from Mind Assault plays for us.

1324_03-kobus1How did you become involved with K.O.B.U.S.?
Paul: It was just a two-man thing in the beginning, with Francois and Theo [Crous, ex-Nudies] playing with backtracks. Initially, Hyser Burger from Battery 9 did the sound effects and the beats, and Theo played guitar. But then on the second album, they decided that for live shows they wanted a full band. So Francois asked me to play drums, because he knows the way I play and that was kind of the thing they were looking for. Then early this year, after the third album, I decided to focus on this Terminatryx thing, since we’d been dragging it on since 2002.

You’re a busy man. You’re also writing for Fangoria magazine, right?
Paul: Yes, I covered the Last House on the Left remake for them, and Doomsday, which got the cover.

You mention on one of your many websites that all your activities are aimed at fostering some kind of alternative, underground community.
Paul: We decided that since everything we do is kind of off-centre, we wanted to create this thing called Alternative Alliance. Because you get punk music, metal, goth, industrial, darkwave, power, noise, whatever, like cliques; punk fans won’t like goths because they wear this or whatever, but technically…

There’s a common aesthetic.
Paul: Yes. I’ve created the logo already. [Laughs.]
Sonja: Everything starts with a logo.
Paul: So we want to do that and incorporate everything that’s “over there” – for people who don’t think like anyone you see on TV, just to give them access to an alternative. Because you have kids who don’t want to drink, don’t want to take drugs, but they like the things that people associate with it, like heavy music. Even skateboard laaities listen to heavier music than the kids who just hang around the mall. And people are getting so bored with everything, and they exclude themselves from stuff, whereas you should be involved and have a say and do your thing without feeling like you’re being condemned, as is so often the case. Not to get into the whole Slipknot samurai sword debacle, but people get condemned for thinking differently, and I guess that’s always been the case. You shouldn’t be ashamed of that, just like you shouldn’t be ashamed if you like Beyonce Knowles. I’m not going to tell you that you can’t, just don’t try to convince me that I should.

Significantly, some of the first lines on the album are “over-the-counter counter-culture is counterfeit”. And in your review of the Queen of the Damned soundtrack, you express similar reservations about the exploitation of the alternative market. Is that anti-commercialism part of what defines the underground scene for you?
Paul: That’s almost our philosophy in a nutshell. People get told many things: what to listen to, what to eat, what to wear, what ringtone to have on their phone. And the only reason is that people want their money. I just choose not to be one of the suckers who fall for that. Everybody can have heavy guitars nowadays. When Napalm Death came out in the late 80s, everyone thought, “What the hell is that?” Now you’ll hear something on the radio that sounds like metal bands from a couple of years back but it’s actually a pop song. Everything gets diluted because people always want something new to push whatever they’re selling. There’s one ad with a cover of a Marilyn Manson cover version.

Then again, by placing yourself outside the mainstream, you’re significantly reducing your potential audience. Does this worry you, or is it even part of its appeal?
Paul: I’ve just always thought like that.
Sonja: I guess you have to be made that way.
Paul: We kind of see ourselves as an opposition. So if our music becomes the most popular in the world, I’m going to fucking change it. It might be stubborn, but I don’t feel comfortable being a sheep and following a trend because someone says you should. Fashion also pisses me off.
Sonja: Even goth has been commercialised.
Paul: Someone decides, okay, this is the trend, we’ve exhausted all the other stuff, now let’s grab this little piece and exploit as much as we can.
Sonja: It’s like, all of a sudden skulls are very fashionable. Two, three years ago, you couldn’t find skulls to save your life. So we’ve decided that, since we’ve always loved skulls and could never get it anywhere, we’ve bought as much jewellery and accessories with skulls on it.
Paul: But there’s no way we’d buy a t-shirt from Truworths with a skull on it. And things like PVC – after The Matrix, every second advert on TV was a chick in PVC doing something Matrix-ish. Although Matrix is a very mainstream movie franchise…
Sonja: But so are we with Terminatryx.
Paul: …but the stuff behind it is very alternative, it’s all fetish stuff – rubber, leather, and PVC; it’s not a mainstream fashion accessory. But it’s made popular in a music video or a movie, and people go, “Okay, cool, I guess we have to do that then.”

Don’t you sometimes worry that by appealing to a particular group, you end up alienating as many people as you draw in?
Paul: Unfortunately that’s just the way it works, with everything. Someone can like a horror movie and be a Christian or a Muslim. That’s why it’s easier to narrow it down to: You know what you like, you don’t have to convince yourself otherwise, and you know that there are similar people out there, whether it’s ten or ten thousand or ten million, and you do what you do mainly to do what you feel is true. However you do that is up to you, except obviously if you do that in a way that has a negative influence on the people around you. You just have to think logically about stuff.

But there does seem to be a double edge to the business of carving out a niche for yourself in the underground scene. Underground people by their very nature tend to be a pernickety bunch – they don’t follow movements.
Paul: Well, obviously if we create this Alternative Alliance, it could seem like another group you have to belong to and be and think a certain way.
Sonja: And that’s not the idea.
Paul: It’s just somewhere that, if you decide you’re bored of your usual style of music, and you want something different, you could go to this portal and find everything you need there. But why not? If you can find a portal where you have access to all of that, if you want to think differently, why not? Then again, I prefer to go look for stuff myself. You know you go to the import section in the record shop where you find fucking expensive albums, but you know they’re only importing two of these so you’re going to buy this one and it’s yours, and you don’t want to share it with anyone. So it’s definitely a double-edged thing; you want it to be unique, but if you popularize it then it will flip around again and everyone’s going to be into it.
Sonja: But it would also be a nice way to reach like-minded people, for us, in terms of what we do. It would be nice if you could get people to be aware of it, you can also spread something through that.

It’s also good publicity, for Terminatryx, for example.
Sonja: Well, even for the HorrorFest.
Paul: We have enough of our own projects that that can be it – but if we can incorporate a wider, like-minded thing, hey, why not? If there’s someone who likes this kind of thing, there’s a big chance they’ll like that, that, and that, so why should they scratch too hard to go find it? You can also miss stuff, like so many people missed the X-Fest because they said they didn’t know about it.

1324_04_horrorfest1Would you say self-promotion is the flip-side of the DIY aesthetic?
Paul: You have to, otherwise you can just sit in your lounge and entertain your friends. But when you do stuff like that, it’s to get it out there; the question is “Do you want to get it that far out there?” I know I don’t buy or read a newspaper, so I’m not sure how many people who are into Slayer and watch horror movies actually read the newspaper to find out where this kind of thing is happening. And then you still have to buy the paper and get to the right page to get to that story. So I guess the internet has become a handy tool for that kind of thing.
Sonja: Our success has been very much linked to MySpace and Facebook.
Paul: It’s like this one guy Darren in Canada. When we did the screening of [animal-rights movie] Earthlings, he said he’s got the movie, and he’ll watch it at the same time as we’re watching it. So that’s very cool. It boils down to: We do it because we have to do it. I’m compelled to do it because, I don’t know, it’s a community service, and there are people who like this kind of thing.
Sonja: There has to be something for them, that’s how I feel about it. Because when I was growing up, there was nothing I could identify with. You used what you had at your disposal, but it’s not lekker.

But isn’t that what forged you into the individual you are now?
Sonja: Yes, but we’re human; we do have a sense of community. Even if you want to say you’re off-centre, it’s still nice if there are a few people out there with you who you can chat to or bounce ideas off.
Paul: And one group or clique isn’t necessarily better than the other; if you want to wear a basketball jersey and baseball cap backwards, cool – at least then like-minded people will be able to identify you and you’ll be able to chat much more easily.

Then again, walk to any mainstream clothing outlet and try to find a shirt that doesn’t have a brand name on the front.
Sonja: Look, I like some brands. I’m not going to be a hypocrite about it; but I’m not going to be a label slave. If I like something and it happens to be a label item, I’m going to get it, not because it’s a Diesel or a Soviet product but because I like it.
Paul: And if someone like Boyzone make a song that sounds cool to me, that’s cool, I’ll say it. But it’s highly unlikely that it’s not going to happen.

What do you listen to when you’re unwinding?
Paul: Mambo Kirk, Ralph Myerz. Neubauten. You cannot go wrong with Mambo Kirk. He does cover versions on his Yamaha organ, this German guy, these lounge rip-off covers of everything. He has a metal medley, for example.

So your tastes are eclectic?
Paul: Very. I mean, I like Tori Amos, and Chris Isaac; I can listen to Yello’s 1885 album, Type-O Negative…
Sonja: I’m a big Tom Waits fan, and I’m not embarrassed to say it. Although I get these little jokes, like “You only listen to this kind of thing, where did you park your broom…”
Paul: Although that’s where that closed-minded thing comes in again. If it appeals to me, it appeals to me. But if it appeals to me, it’s unlikely to be the kind of thing you’d hear on the radio.

The HorrorFest runs at the Labia on Orange Street, Cape Town, till Thursday, 6 November 2008. For more information, visit the HorrorFest website. You can also read the mainstream version of this article, Creatures of the Night, Unite! which was published on

[Originally published on on Thursday, October 30, 2008 and Monday, November 03, 2008.]


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